Port of Portland AuthorityFront: (no inscriptions) Back: 177 (top right, pencil)

Port of Portland Authority archives.Front: (no inscriptions) Back: Poles in the background. Timber treatment plant in middle. Mills at background. Photography by the Arthur Studio. Further copies always obtainable at 27 Commercial St. East, Mt. Gambier. (purple stamp, lower right) (upper left, pencil), 22 (lower right, pencil).port of portland archives

Port of Portland Authority archives.Front: (no inscriptions) Back: Inside Timber Treatment Plant Dartmoor (upper left, pencil). Photography by The Arthur Studio. Further copies always obtainable at 27 Commercial St. East, Mt Gambier. (lower right purple stamp), (10 lower right, pencil).port of portland archives

NoneView of a quarry. In the centre of the image a conveyor belt runs up from a pile of rubble to a small hut on tall stilts. A conveyor belt runs down from this hut to an orange truck. Below and to either side of the stilted building are two wooden buildings with tin rooves. A stilted tower is depicted in maroon to the left, and another in the distance to the right. Mounds, painting in brown, yeloow, grey and shades of blue run across the centre of the image, below a sky washed with blue and highlighted with orange. Mounted in a decorative matt, in wooden frame with glass.Front: N. W. Jones 74 (lower left, blue paint) Back: 1974 (upper left, pencil)

Port of Portland Authority archives.Front: (no inscriptions) Back: Portland Harbor Trust Commissioners (purple stamp, top left & bottom right).port of portland archives

Port of Portland Authority archives.Front: (no inscriptions) Back: "Trojan" Log Carriage with "Sel-Set" & Feedworks at Dartmoor (upper left, pencil). 19 (lower right, pencil). Photography by The Arthur Studio. Further copies always available at 27 Commercial St. East, Mt Gambier (lower right, purple stamp).port of portland archives

Port of Portland AuthorityFront: (no inscriptions) Back: Firts wool sale and buyer (top left, blue pen). 1 copy 8 x 6, 1 copy 10 x 8 (top left, blue pen). C (top right, red felt tip pen).port of portland archives

Port of Portland Authority archivesFront: (no inscriptions) Back: 12-8 Items date & 25½ [each ?] (blue pen, centre) 4572 (lower centre, pencil) Page 11 (lower right, blue pen) Film No. I.98/ Neg. No. 3/ Date 21-12-64/ (Portland Studios, 11 Julia St, Portland. Tel. 858 (blue stamp & pencil) (centre)port of portland archives

Port of Portland Authority archives.Front: (no inscriptions) Back: (no inscriptions)port of portland archives

Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions)

NoneAbstract image. Centre image is a human (shown without skin) climbing a narrow mound/hill form. At the top is a screen supported by three poles. The screen reproduces a photograph of what appears to be a classical narrative bas-relief sculpture. On each side of the hill are Celtic and Norse carvings/gilded artefacts/metalworks mounted on long poles. Abstract could patterns are at the top of the print. No matt. Silver metal frame.Front: 1/10 (lower left) Ikon to a Fossil King (lower centre) Allan Mann (lower right) (pencil) Back: (no inscriptions)