Travis Webber was born in South Australia in 1900. He died in 1968. He studied at the South Australian School of Arts where he went on to teach. Webber established himself as one of the Australia's most prolific landscape artists. His work is held in several large galleries.Bluestone building with a shingle roof. In foreground right is a wooden fence. A carriageway cuts through centre of building, and above this is a window filled in with corrugated iron. The right side of building has large cracks. A tree is growing against the building in image centre, and bushes at image left and right. Framed in wooden frame.Front: Travis Webber (brown paint, lower left) Back: Geelong Picture Framers, 211 Moorabool Street, Gelong. Ph: 97805 (blue ink stamp, lower centre).oil painting, greenmount, landscape, portland landscape

Glenelg Shire Council RecordsView of long curving beach - Discovery Bay, Portland.Back: Portland Development Committee Inc. (blue stamp, centre). Portland Studios/11 Julia St., Portland 3305/Tel. 232224 (black ink stamp, lr. centre).discovery bay, portland, landscape

From Antiques Reporter: Florence Tatham Mellblom, (Australian, 1900 - 1983), Visit Portland The First Victorian Settlement, during the Centenary Celebrations from 15th to 23rd November 1934', 1934 colour lithograph, signed 'F. Mellblom' in image lower left, 63.5 x 101.5 cm. Linen-backed. Text continues in lower margin: 'Arbuckle, Waddell Pty Ltd Print, Melb.', Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.A bluestone building on an arid landscape. Yellow grass in the foreground with one tree standing at the front. There is a blue sky behind. The left hand wing has a door which is slightly open. Above each wing is an engraved piece of stone. Left - Portland, right - Shire. An old rickety fence to the left of the building.Bottom Right - F. Mellblomfemale artist, women, female, landscape, portland landscape, portland shire

Thomas Clark began his career as an artist in England in the mid-1800s. He specialised in drawing and went on to teach at the Birmingham School of Design. In 1851 he left England, and it is thought that he travelled to Russia possibly to undertake an engraving commission for the Tsar. From there he travelled to Melbourne, Australia. In Australia Clark established his reputation as an artist and began painting landscapes. By 1862 the Ballarat Star reported the exhibition of several of his paintings and refers to him as, ‘an artist of eminence in Melbourne’. In 1870 Clark was appointed as the drawing master of the National Gallery School of Design where he taught several prominent Australian artists – Tom Roberts and Fred McCubbin. Clark spent most of his time in Melbourne. He did, however, travel to the Western District twice – once to undertake a commission and another time on a sketching trip. It is during one of these trips that he most likely painted Portland Bay. Portland Bay is thought of as one of Clark’s most appealing paintings . It is also fascinating because it depicts a view of Portland Bay both before the establishment of the harbour in the 1950s and prior to the lighthouse being moved in the late 1800s. This view is from Battery Point and shows the Portland Lighthouse before it was moved. It is now on the other side of the bay on Whaler’s Bluff. Australian ColonialView of Portland Bay with a bluff in foreground left. On top of bluff is a lighthouse and a white cottage. Lighthouse is white with a red roof. Cottage has a tall flagpole flying a red flag. Two figures stand in front of cottage. Below bluff are two further figures looking out to see. In background right is a town and harbour. Further figures can be seen on the beach. Framed in ornate gilded frame.Front: (no inscriptions) Plaque on frame read: "PRESENTED BY MRS. J.E. GRICE GRAND DAUGHTER OF STEPHEN GEORGE AND JANE HENTY." Back: (unknown)portland bay, thomas clark, portland lighthouse, whalers bluff, glenelg shire cultural collection, portland, glenelg, landscape, seascape, maritime

Art Collection Previously located in History HouseThe painting depicts the Portland Port from an aerial perspective. The perspective is taken from the ocean looking down across the Port and into the town of Portland. Within the foreground is the ocean beyond the Main Breakwater, the Main Breakwater and the Port. Within the Port nine large ships are docked and another is being brought into the Port by two tugboats. The background features a distant view of the town of Portland and the landscape beyond the township. The work has a white wooden frame and glass.Front: TROMPF (white paint, bottom right corner) Back: (no inscriptions)

The Port of Portland opened in 1959. Straight after the Mission had the desire to establish a Mission at this location. A building was found in November 1961 on Cliff Road (AR 1961). After alterations and renovations, it was officially dedicated and opened the 30 June 1962. The Portland Mission was the fourth building to be opened in Victoria.Large rectangular (landscape orientation) monochrome photo, depicting 6+ clergymen gathered in a 'U' shape, conducting an outdoor servicePortland Guardian stampmission to seamen, portland, victoria, 1962, dedication, opening

The Birds of Australia Vol 3-4 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1890 - 1891non-fictionGracius Joseph Broinowski was a Polish-born artist and ornithologist who became a key figure in documenting Australian wildlife. Born on 7 March 1837 near Wielun, Poland, he studied languages, classics, and art at Munich University before emigrating to Australia around 1857 to avoid conscription. Broinowski faced hardships in Europe and London before sailing to Australia. He initially worked rural jobs in Victoria, then joined a Melbourne publishing firm, traveling across Victoria, New South Wales, and Queensland to paint landscapes and sell art via "art unions." the birds of australia vol 1-2, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history

The Birds of Australia Vol 5-6 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1890 - 1891non-fictionGracius Joseph Broinowski was a Polish-born artist and ornithologist who became a key figure in documenting Australian wildlife. Born on 7 March 1837 near Wielun, Poland, he studied languages, classics, and art at Munich University before emigrating to Australia around 1857 to avoid conscription. Broinowski faced hardships in Europe and London before sailing to Australia. He initially worked rural jobs in Victoria, then joined a Melbourne publishing firm, traveling across Victoria, New South Wales, and Queensland to paint landscapes and sell art via "art unions." the birds of australia vol 1-2, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history

CEMA Art CollectionThe painting depicts a church in an otherwise empty landscape. Within the foreground is a sweeping corner of a dirt road. Along the edge of the road runs a simple fence. Behind the church is a bare yellow and brown hill which reaches into a dark sky. The work has a wooden, white painted frame with grey mount and white trimming and glass.Front: Robert T. Miller 75 (lower right, black signature) Back: ROBERT MILLER " OLD CHURCH PORTLAND" (1966) (lower right, typed) Watercolourportland, church, streetscape, religion

Winner of Portland Art Society Art Prize for the category of watercolours.An abstract depiction of a landscape. The work is predominantly completed in shades of blue, purple and green using a watercolour technique. Further detail has been added to the work using black ink ink and white paint. The work has a painted wooden frame with with white mount and glass.Front: Stephen Spurrier (black ink, lower left) 1966 Back: Stephen Spurrier "Landscape Near Condah" (1967) typed label Watercolourscema, portland artists society

CEMA Art Collection Winner of 1965 Portland Art Society Art Prize for category Any other medium.The drawing depicts the burnt remains of a mountain top. In the foreground are two mountain edges which are black with a patch of blue and patch of orange/brown. In the background are remains of several burnt tree stumps on a purple/brown ground. The work has a thin wooden frame, white painted hessian and glass.Front: M Macqueen 64 (signature, lower right, black chalk) Back: MARY MACQUEEN "BURNT MOUNTAIN" (1964) (lower left, typed label) 1964 (upper right, yellow sticker and also pencil)female artist, women, landscape

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of a landscape with several social comments. The top of the work features a Micky Mouse symbol with dollar signs in his eyes and a speech bubble which says "We'll move the Heathland". To the left is text stating "ALCOA AIMS TO MOVE THE HEATHLAND. "AGE" 5-9-80". In the centre of the work vegetation burns, aboriginal people wave and a tractor drives below the text "THEY BURNT THE HEATHLAND 4-12-80". The lower section of the work shows two men with a red megaphone. A speech bubble comes from the megaphone which states, "I UNDERSTAND YOUR ANGUISH!" To the right of the men is a wreath of native plants with two animals (native mice?).Front: 26 B. Sharrock (lower right, image) (pencil) Back: 36

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of females in various landscapes. The top half of the work features the ocean, coastline and breaking waves. Super imposed on this are images of: five seagulls; a blue portrait of a female face; and a female torso and head. In the centre of the work a female stands looking towards a house and the ocean in the distance. The lowest section of the work features the image of a female face in a blue and orange rectangle. To the left of her is a twig.Front: 14/16 Bridgewater Bay. Catherine Taylor '83 Back: 42

Caltex $500 Prizewinner at Portland Arts Festival - retained for Portland Collection.Dense landscape depiction - bushland in vivid blue and green shades. There is a clearing on the left with 3 houses and possibly a figure in the centre of the clearing. Blue sky with a long cloud. Mounted in a tan-coloured matt in a wooden frame with a faux-distressed gold finish.Front: H. Rosengrave 69 (lower right). Back: Top right - yellow sticker "1969-". Bottom centre - "Gary Hayman. Picture framer. 41 Julia Street, Portland, 33-5. 055 233154. Custom framing, framed printed, photos and oils."landscape, bush, bushland

Port of Portland Collection.Depiction of a boat with furled sails on choppy waters, sailing towards land. The landscape includes a hill and several buildings, including a wind mill and a church spire. Mounted in cream matt. Framed under glass in wooden frame.Front: Belfast Port Fairy (lower centre) (printed). Published by Sands & Kenny, Melbourne & Sydney 1857. Back: 19 Upper left pencil. 1996 upper right pencil.port fairy, belfast, landscape, drawing, print, coastal, 1800s

1998 Portland Rotary Art ShowScene of a cottage in a wild garden. There is a mountain in the background of the right. Blue sky with light clouds. Mounted in cream and dark gray double matt, framed under glass in gold-coloured wooden frame.Front: Helen Ferguson Back: (no inscriptions)landscape, garden, flowers, rotary, mountain

CEMA Art Collection Winner of 1968 Portland Art Society Art Prize for the category Oil or similar medium.The painting depicts several tall, dead trees in the foreground with dense living trees in the background. The foreground is green, white and yellow. The work has an interesting texture created through the use of clearly defined thick paint strokes. This technique is particularly evident in the foreground where it has been used to create the ground from which the dead trees stand. The work has a painted wooden frame with material mount and non-reflective glass.Front: R. ARENDSEN '67 (black, lower right) Back: RENNEE ARENDSEN "DEAD WOOD FOREST, MALLACOOTA" (1968) (typed) Stamp: KATRINA GALLERIES 485 CENTRE ROAD BENTLEIGH, VIC 97-6715 Yellow Sticker: 1967 Handwriting around back of frame.female artists, female artist, landscape, trees

CEMA Art Collection Winner of Portland Artist's Society Prize 1961The painting depicts a small building set amongst tall trees and grasses. The building is situated in the centre of the work and is cream with a red roof and red awnings. In the foreground is a large area of long grass which leads into the shorter maintained grass that surrounds the building. Behind the building are numerous tall dark green trees. The work has a wide gilded frame and exposed canvas.Front: (No inscriptions) Back: Jack Freeman 1961 Landscape Dandenong (top right, black handwriting) 18 (white sticker)

View of PErcy Street, Portlandlandscape photography, percy street, portland