Showing 73 items
matching mining landscape
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Federation University Historical Collection
Document - Report, Andrew Ward, Ballarat Heritage Review, 1998
... landscape importance mining importance addington ascot bald hills ...City of Ballarat Heritage review including introduction and objectives, study area, summary of recommendations, significant streetscapes, and smaller towns.ballarat heritage study, ballarat, heritage, architecture, streetscapes, landscape importance, mining importance, addington, ascot, bald hills, buninyong, burnside, burrumbeet, coghill's creek, dowling forest, durham lead, glendaruel, learmonth, miners rest, mount blowhard, scotchman's lead, smythes creek, tourello, weatherboard, windermere, andrew ward -
The Beechworth Burke Museum
Photograph, 1920-1950
... for understanding changes to the landscape, the evolution of mining methods ...This image taken between 1920-1930 depicts open-cut hydraulic sluicing at the Three Mile Mine, located about five kilometres south of Beechworth. Alluvial, or surface, mining began on this site in the 1850s, but was soon replaced by hydraulic sluicing methods. By the start of 1880 it is estimated that nine hundred miles of water races had been cut though soil and rock in the Beechworth district. Hydraulic sluicing employs high pressure jets of water to blast away large areas of earth and wash it down to be run through a sluice box. Gold gets caught in the sluice and the remaining slurry is washed away. Large water quantities were required for hydraulic sluicing, and the long water races and deep tailraces that were constructed were considered great engineering feats. This method of mining is extremely effective, but causes significant environmental damage and impacts to waterways and agricultural operations. Miners at Beechworth built extensive networks of races and dams to secure reliable supplies of water on a scale far greater than elsewhere in Victoria. By the 1880s Beechworth's water barons continued to hold more than half of all the water right licences on issue and undertook sluicing operations on a massive scale. The manipulation of surface and ground water via race networks was well planned and recorded in detail by local mining surveyors. The maps that were created, combined with modern geo-spatial technologies, provide a vital key in understanding the great lengths to which miners went to capture and control critical water resources. Today, Three Mile mine is called Baarmutha. The Three Mile Mine was unproductive until 1865 when John Pund and three other miners secured a fifteen year license and constructed a water race from Upper Nine Mile Creek to Three Mile Creek. In the early twentieth century Pund & Co. averaged over one thousand ounces of gold per year from the mine. After Pund's death in 1915, GSG Amalgamated Co operated the site, continuing sluicing until 1950. This image of hydraulic sluicing methods shows the extent of water-works engineering in the landscape. This photograph has historic and research potential for understanding changes to the landscape, the evolution of mining methods, and the extensive construction, manipulation and management of water networks in the Beechworth district. Black and white rectangular photograph on matte paperReverse: 7597-1 / Sluice Mining / Copied from original on loan from Webb (Qld) / Donated Nov 2009 / Baarmutha Three Mile Mine c1920-1950 / Managed by the Plain Bros then Parkinsons / Current Location is: Beechworth Animal Shelter / used for Baarmuthaburke museum, beechworth museum, beechworth, gold fields, gold rush, victorian gold rush, hydraulic sluicing, spring creek, netwown falls, mining tunnels, water races, tailraces, gold ming history, colonial australia, australian gold rushes, mining technology, beechworth historic district, indigo gold trail, indigo shire, john pund, water manipulation, water engineering, three mile creek, three mile mine, water race, large-scale mining methods, historical mining construction, alluvial mining, mining environmental impacts, baarmutha, water barons -
The Beechworth Burke Museum
Postcard, George Symons, c.1990
The photograph printed on this postcard comes from the collection of the Mitchell Library in Sydney. It is sepia in tone and depicts seven men standing and sitting around a mine shaft in the Beechworth region. The photograph has been dated to approximately 1872. This period in history post-dates the Victorian gold rushes which occurred 1852-1853 in Ballarat, Bendigo and Beechworth. During this period, in the 1870s, the surface alluvial gold had been discovered and removed from location. Therefore, in order to reach the deeper and less accessible alluvial gold, diggers began to dig shafts into the earth. These shafts sunk below the ground level by 20 to 30 feet and required timber structures around the entrance and winches to bring the paydirt to the top. The top of this wooden structure is visible behind the man standing in the upper right of the image. This type of mining was highly dangerous as mines often caved in which injured the minors and often resulted in death. Thus, following this period, in the early 1900s, miners opted instead for hydrolic slucing which cut away the earth without the devastating consequences of a mine cave in. This particular group of miners appear to have been unable to afford a horse (then worth around 50 pounds) which were generally used at mines like this to help pull buckets attached to ropes up and down the mine. Instead, this group brought the buckets up and down by windlass. The windlass was a wooden structure mounted over the mining shaft and fitted with a hand-cranked winch which enabled the bucket attached to the rope to be brought up and down.Gold was first discovered in Beechworth in Spring and Reid's Creek in the summer of 1852-1853. At its popularity, this region had approximately 8000 people on the gold fields searching for gold on the banks of these creeks. These periods did not require the use of heavy machinery or the digging of deep mining shafts like the one depicted in this image. Therefore, this image has important connotations for the technologies associated with mining during the approximated 1870s when gold was harder to access. This is a later period in gold history which does not fit into the "gold rush" period. Instead, it occurred after the surface gold had disappeared and therefore, is essential for researchers who are investigating the mining techniques and structures used to reach the alluvial gold which was located deeper under ground in the 1870s. This period predates the use of big heavy machinery used to mine in the 1900s which include dredges. Images such as this one can also impart essential information as to the wardrobe and fashion of men during this period. It also imparts knowledge about the landscape of Beechworth which is useful for people researching the environment and impact of gold mining in the north-east region of Victoria. In addition, since this image is a postcard reproduction of an early Australian image which may date to approximately 1990 it can impart knowledge as to the interests of people during this time period when there may have been an increase into Australian history.A sepia tone facsimile of an early Australian photograph (circa 1872) printed as a postcard.Obverse: BEECHWORTH / Victoria, Australia / Reverse: GM 2 3275 / CORRESPONDENCE / AUSTRALIAN / YESTERYEAR / CARDS / ADDRESS / Published by George Symons (057) 65 3240 / THE MINEHEAD C. 1872 / The easily gleaned gold of the early fields did / not last very long. In order to reach less / accessible alluvial gold diggers began sinking shafts as much as twenty to thirty feet down / and the mines required timbering and winches / to bring the paydirt to the top. / This syndicate has been unable to afford the / luxury of a horse (about 50 pounds) and so everything / must go up and down by windlass and rawhide / bucket. / Photo: Mitchell Library, Sydney / A sepia tone facsimile of / an early Australian photographmining album, gold mine, beechworth, burke museum, mine shaft, postcard, australian yesteryear cards, george symons, the minehead, gold fields, alluvial gold, early australia, c.1872, 1872, gold diggers, north east victoria -
The Beechworth Burke Museum
Photograph, Walter William McLean Thwaites, c.1870
This photograph depicts a large group of men in their work clothing situated in front of a large bank of earth. They are identified as miners working in an unidentified location in Australia. This photograph was taken by photographer Walter Thwaites sometime during the period of 1865-1908, likely c.1870. It is unsure where this image was taken since Thwaites travelled a lot over his photography career and the photograph is not annotated with this information. In addition, the identities of the men in the photograph are also unknown. These men are photographed in front of a large bank of earth where they had presumably been mining for gold or other precious metals. The men, with the exception of four, are wearing wide brimmed hats to protect their faces from the sun. They are also wearing loose fitting white shirts which are often worn beneath a darker coloured vest. They wear pale coloured work pants and boots. The men are mostly clean shaven with the exception of the moustache and a couple of beards. Two of the men have pipes in their mouth. Their clothing is basic and much less dramatic than the outfits worn by the gold diggers of the 1852 gold rush. These men, by wearing similar outfits, are expressing a sense of comradery or equality between them. It is likely that they are from the same, or similar, social status. They have an air of independence and share social equality in their stance and clothing. Walter William McLean Thwaites (1840-1908) was a professional photographer born in Sydney, Australia. He learnt the craft in his father's Hobart studio, but later embarked on his own solo career and toured every existing Australian colony between 1860 to 1888. The Thwaites family were a long line of photographers and artists with Thwaites' father Walter WIlliam Thwaites Sr working as an artist and photographer in Australia after moving from England in 1834. Walter Thwaites Sr's father, also named Walter Thwaites, was a British miniature portrait artist.Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts over 30 diggers standing in front of a bank of earth and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.Reverse: 1997.208 / MINERS. / W. Thwaites / Photography /australia, australian photography, photography, miners, gold rush, australian landscape, diggers, walter thwaites, thwaites photography, w. thwaites photography, social history -
The Beechworth Burke Museum
Photograph
This photograph depicts a man in dark clothing, standing in front of a cut away section of earth. He is undertaking hydraulic sluicing, which involves the use of high powered hoses, in order to cut away the earth which can then be sifted for gold. There is a single tree in the background and the earth contains numerous signs of damage because of the mining. Beechworth become a mining settlement after the discovery of gold in 1852. Gold fever had already spread across Australia's colonies and the American states. Sluicing the landscape for gold, as shown in this photograph, was done by diverting water and washing away the lighter dirt, allowing the gold particles to sift down in to catchments for collection. In Beechworth, there was considerable discontent caused by attempts to restrict water use for sluicing to those with certain 'water rights'. The extensive use of hydraulic sluicing, and the washing away of top soils has continued to impact the surrounds of Beechworth in to the present day. Sluicing as a method for gold mining which was widespread across Victoria during the 1870s. The erosion of the top soil in search of gold has a continuing environmental impact on the landscape and this photograph depicts but one example of this occurring and can provide much information to a researcher interested in understanding the history of gold mining in Victoria. This image of the miner and hose is historically important because it demonstrates the methods of goldmining employed in the later years of the goldrush at Beechworth. It shows how much land is washed away by the use of this technology. The image has good interpretive capacity because it allows researchers to see a different mining technique to what is usually presented. Black and white square photograph on card.reverse: 84-50-3 / 1997 3141 / smdsluicing, goldmining, beechworth, burke museum, miners, gold miners, gold sluicing, environmental impact -
The Beechworth Burke Museum
Photograph
This photograph depicts four men standing near a large unidentified building. This building is the entrance to a deep lead mine shaft. There is a bridge entering the building, which was used to access the elevator to the shaft. Deep lead mining involved placing large shafts into the ground which miners use to access deeper locations in order to excavate the rocks in the search for lead. Deep lead mining was highly dangerous as roofs could cave in of the soil was loose. Therefore, this particular mining considered to be highly undesirable profession as many miners did not want to work long hours nor risk their lives in the search for lead. Indigo Shire was a large area where deep lead mining took place, and thus the landscape and environment was largely impacted by these mining businesses. The Indigo Shire grew in population and wealth in the early 1850s when people came into this location in the hopes of finding gold and making a fortune. Ultimately, the accessibility and availability of gold and precious metals decreased once the gold reserves dried up and alongside this, the large population moved away. The Ovens was also heavily impacted environmentally as deep mining resulted in the change in land formation.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about the methods used to find gold in Indigo Shire. It also shows a location where deep mining was undertook which provides insight into the impact of deep mining on the environment at a time when it was done. This image is important for current research into the history of Indigo Shire, a region in Victoria's north-east. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to deep lead mining and Indigo Shire which can be analysed and studied alongside images like this one.Sepia coloured retangular photo printed on gloss photographic paper.Reverse: 1997, 2510/ A02570/ Deep Lead Mining/ page 94/ 65%/ Burke Museum, Photo 44beechworth, burke museum, indigo shire, deep lead mining, mining, gold, gold mining -
The Beechworth Burke Museum
Photograph, c. 1870
This photograph was captured at an undisclosed location and at an unidentified time but likely dates to approximately 1870. The photographer's details are not recorded and the identities of the men in the image are also not known. This image depicts a group of 10 men in typical miners fashion. Four of them are sat on a large log with one holding a small dog. Six miners stand behind those sitting. All these men are wearing a white button-up shirt and tan coloured work trousers. They wear heavy boots and seven have included a dark vest over their shirt. The man holding the dog has a pipe in his mouth. Two of these men are clean shaven with the remainder sporting a moustache and two with a beard. The ages of these men vary from late 20s to middle age. This group of men are located in a mining location with what appears to be an open cut mine in the background of the image. The ground is muddy and has elements which can help identify it as a mining location based on the condition of the landscape. The bottom of the men's trousers are muddy which provides the assurance that these men were working in this location when their photograph was captured. In the background there is one structure, possibly a dwelling, and bush which identifies the location as Australia. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper mounted on board.Reverse: 1997.2518mining, goldfields, beechworth, 1870, australia, australian goldfields, diggers, victoria, sluicing, gold mining, miners, diggers victoria -
The Beechworth Burke Museum
Photograph, c.1870
This photograph was taken in approximately 1870 and depicts four male miners standing in mining sluice at the Three Mile Goldfields. These men are wearing typical attire for 1870s gold miners. They wear white shirts, tan coloured pants with water proof shoes and most of the men are wearing an apron to prevent their clothing from becoming too dirty from the mud. Each man is wearing a wide brim hat and hold large wooden tools used for sorting through the sluice. Three of the four men have full beards. The photograph was donated to the Burke Museum by R. Ziegenbein before 2001 but the photographer and the individuals captured in the photo are unknown. The image depicts the landscape of the Three Mile Goldfields during a period when open cut sluicing was undertaken to reach gold. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5 km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund was later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. Sluice box workers were a vital part of gold mining regardless of how inefficient they were in the recovery of gold. After using hydraulic sluicing to cut away the earth, miners would use the big wooden boxes depicted in the image to catch the earth which would then be sifted for gold. However, accidents would occur often which would result in the gold washing away and unable to be recovered. It was not a very efficient system because the gold, which was alluvial and thus very fine, would often pass through the sluice box undetected.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.[illegible] about 1870 / 97 2514.1 / 2594 30three mile goldfields, goldfields, 1870, 1870 gold, australia, australian landscape, miners, gold miners, diggers, gold diggers, beechworth, victoria, sluice box workers, sluicing, sluice, mining -
The Beechworth Burke Museum
Photograph - Photograph - Reproduction, W. D. Gibbon, Early 1900s
This photograph was taken in 1911 at Three Mile Creek, about five kilometers south of Beechworth town. Significant digging took place at this location from late 1855, which led to a flood of workers and stores to follow, though daily earnings were slim compared to the nearby Woolshed site. This remained the case even after workers at Three Mile Creek attempted to protest around Beechworth during an election in November 1855. Three Mile Creek was one of seven significant divisions of the Beechworth Mining District formalised by the Governor-in-Council in 1858, though by the time this photograph was taken, the boundaries of the original seven districts had shifted to create seventeen divisions. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund (a man second from the left in the back row of this photograph shares this surname) recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund would later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. The eleven miners in this photograph are: Back row: Led Guthrie, P. Pund, F. Beel, [Unknown] Miller Front row: Paddy McNamara, J. King, W. Beel, [Unknown] Garland, J. Clarke, J. Ryan, H. Bartsh In the background of the photograph is a huge dirt wall that appears to suffer damage caused by hydraulic sluicing. Hydraulic sluicing is a specialised mining technique that involves directing high pressure water flows at dirt to uncover gold. The technique played a significant role in shaping Beechworth's landscape during the gold rush to create the topography seen today.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1911. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Black and white / sepia rectangular reproduced photograph printed on glossy photographic paper mounted on board.beechworth, beechworth museum, mining, mining team, three mile creek, sluicing, hydraulic sluicing, photography, gold sluicing, gold mining, pund mining -
The Beechworth Burke Museum
Photograph, 1960
Taken in 1960, depicted is the construction of Lake Sambell, looking west across the lake. Lake Sambell is a beautiful Victorian recreation lake and urban park with a unique history. It was created in the mid-1800s by the Rocky Mountain Mining company during the gold rush era and used as a mining site until the early 1900s, which brought Europeans into the area. It was turned into a reserve for residents in 1920 and is considered an icon of Beechworth as it represents the development of the community, human endeavour, and the spirit of the landscape.This photograph represents additional construction to Lake Sambell as a recreational reserve.Black and white reproduced rectangular photograph print on paper.beechworth lake, lake, lake sambell, construction, #beechworth, australian landscape, beechworth 1960s, victoria -
Eltham District Historical Society Inc
Book, Warrandyte Historical Society, Wonderful Warrandyte - A Portrait by Valerie Polley, 2014
The Warrandyte Historical Society aims to collect, preserve and present the town's history. This books draws on the archival and memorabilia resources of the Society and other sources to paint a portrait of the township, its landscape, buildings, organisations and community.Warrandyte holds a significant place in Victoria's gold mining, art and settlement history.ISBN 9780992429102warrandyte, anderson's creek -
Robin Boyd Foundation
Work on paper - External perspective, Neil Clerehan, 1945
Robin Boyd met architect Neil Clerehan at the end of 1943 when they were both in the army. They worked together on Victorian Small Homes Service and were friends.Watercolour of a mining building in an outback landscape.On the reverse side "Neil Clerehan, 1945" on top left in blue pen, and "No 8" on bottom right in pencil.neil clerehan, robin boyd, ohm2022, ohm2022_29 -
Federation University Art Collection
Painting - Artwork, Artwork by Daphne Wallace, 2006
Daphne WALLACE (1964- ) Gomaroi, Ullaroi, Wurralli, Muralli Country Wallace is a Gamilaroi/Ullaroi-Yuwaaliaay artist whose intensely coloured and textured abstract and pictorial paintings are interpretations of the Yuwaaliaay stories passed down to her by her grandmother. They are evocative of her spiritual and emotional attachment to her home in Lightening Ridge.Daphne WALLACE Gomaroi, Ullaroi, Wurraili, Muraili country Artist's statement: This painting tells of many different stories, most of them I knew growing up and some were told to me since working on the Bubbles of the Surface Project. ... Reading this landscape through Murri / Murdi eyes and our relation to country. In the top, Yurri Yurri women/people, Rainbow serpents the other side of Coocoran Lake, Bunyip waterhol near Angledool, Ants nest believed to be where Baiame laid his tow wives, where the ants ate off the slime and brought them back to life, mining fields around Lightning Ridge, Bush tucker such as bumbull, burrigan, nappan, greewee, snotty gubbuls. In the middle, Gurra the crocodile, Gurra the crocodile himself, when Baiame killed him to retrieve the two wives, a rainbow shone no him and his scales turned inot opals, left to the Narran Lake was where Baiame sat down and left his bottom imprinted in the rock. he got up and moved onto the blue mountains where his wives gave birth to the three sisters. At the botttom of the painting, Walgett council dug up two old Kings sitting up face to face with their legs crossed, with their Tin King plates around their necks; Their head bands of kangaroo teeth were still inbedded in their skulls. The water dog stories are at spots along river "don't go down thereon the bend (Namour Researve River) the water dog witll get you" Nan used to tell us. It is believed that the water dog makes whirlpools and will drown you. He makes a druming sound, which can be heard along the Namoir, Barwon, Darling, Gwydir, Mihi and the Narran River; and the Duck is part of the creation story, with the twin platypus. It tells how the water dog kidnapped her and kept her in a cave on the river bank, she escaped back to her people. They knew she was bingal therefore vanished her fro that region, she travelled to New England region giving birth to twin platypus.daphne wallace, aboriginal, gippsland campus, churchill, gomaroi, ullaroi, wurraili, muraili -
The Dunmoochin Foundation
Oil Painting, Untitled (Mining Scene), 1967
Thick impasto painting depicting a landscape with three male miners. Signed (L.r) 'Eric Stewart 67'.eric stewart, painting, landscape, miner -
City of Ballarat
Artwork, other - Public Artwork, Cliff Burtt, Buninyong Bivium, 2016
Buninyong Bivium (2016) by Cliff Burtt engages with the geography and history of the Buninyong region in both pre and post settlement. The town of Buninyong is dominated by the profiles of Mt Helen and the extinct volcano Mt. Buninyong. Traditional land of the Wadawurrung people, today the area remains a significant site for the culture of indigenous people and their connection to the land. The profile of this sculpture is based on topographical mapping of the area, depicting sections of the landscape. The gaps between the elements of the work can be viewed as representations of the shafts sunk into the earth by the early gold miners and compound curves on the upper surfaces are mirroring the topography of the area, while cut-aways in the sides are suggestive of rock strata.The artwork is of aesthetic and social significance to the people of BallaratCorten steel sculpture made of five unique sculptural pieces secured to at concreate base at pavement levelbuninyong, cliff burtt, sculpture, public art, mining, ballarat -
City of Ballarat
Artwork, other - Public Artwork, Open Monument by John Young, 2015
Open Monument is a contemporary artwork acknowledging the history of Chinese people in Ballarat. The Chinese diaspora was global and many Chinese people came to Ballarat and the Victorian Goldfields. The work details some of the personal Chinese family memories of Ballarat from the goldrush forward. The 33 marble laser-etched panels include found images and texts mounted on a modernist metal architectural feature holding back a grassed hill landscape. Within the side walkway of gravel and composite stone is an etched of local activities relating to the Chinese community achievements that can be added to by the community.Open Monument is of aesthetic and historical significance to the people of BallaratArchitectural artwork consisting of large marble panels on a corten steel frame imbedded into a grassed mount.Inscription on plaque: Open Monument 無極紀念碑 / Artist: John Young / Officially Launched by Mr Yumin Song / Chinese Consul-General to Victoria / 6th September 2015 / Open Monument unearths stories of the Chinese diaspora in Ballarat, a name which means/ “resting place” to the traditional custodians - the Wadawurrung and Dja Dja Wurrung people./ The monument comprises of two artworks: Transculture, a granite-panelled work, evoking stories of alternative worldviews, / modernity, leisure and toil. Whilst Timeline traces the major contributions of the Chinese community in Ballarat, every decade / from the 1850s until the present. The timeline then folds out to 2170, anticipating imaginary future contributions. / The monument is open to future interpretations of this history. / I thank you for visiting and acknowledging the contributions and memories that meant so much to / those who have gone before us./ - John Young Zerunge / Patron: Mr Henry Thai OAM JP / President of Ballarat Chinese / Community Association Inc / The following generous donors to this project are acknowledged with gratitude/ City of Ballarat Sovereign Hill Museum Association Inc. Ballarat Chinese Community Association Inc. Mr Henry Thai OAM JP & Mrs Sandra Thai Mrs Shirley Doon & Family in memory of Harry Doon Chinese Masonic Association Inc. Mr Mean Te and Mrs Meng Khun Mr Jack Nguyen MA JP & Mrs My Tang Mr Tony and Mrs Elise Yu Mr Chang Zhen Zhen & Family Australian Lian Jiang Association The Federation of Chinese Associations Vic The Leesoon Family Mr Stephen K.F Ng OAM JP Dr Che Sam Lo MD phD JP OAM Elderly Chinese Home Inc. The Federation of Chinese Org from VN Cambodian and Lao Association of Vic. Inc. Bright Moon Buddhist Society Nam Pon Soon Club House See-Yup Society Mr Peter Chong Wai Lo Mr Qing Song Lin Mr Binh Quoc Mao & Mrs Thuy Cam Thai Mr Alexander Mao Mr Yuet Lung Kwok JP Mr Tai The Tran Mr Phillip K. L. Tran Mr William K. L. Tran Mr Quang Khon Tran JP Mr Kouy Taing Mrs Kieng Hor Lou Mr Bill Chang Piu Au Mr Maurice Kwok Leong Mrs Eunice J. Leong Mr Vi Minh Tran JP Mr Frank Cheng Mr David Cheng Mr William Thai Mr Lizhen Lin Mr Phillip Richard Thai Mr Hoan Ping Kow Mrs Xao Nhu Kow Mr Huy Thai Mr Yun Kuen Lo Mr Chiu Yip & Mrs Yuan Han Cho Mrs Jacqueline Louise Thai Greenwood Mr Joe Hap Chi Chao & Mrs Rosana Wei Ning Chao Charity & Multi Art Association of Victoria Inc. Mr Billy Cai Miss Nikki Cai Miss Su-Ling & Miss Lily Mays-Doon Mr Anthony Doon Mr H J Moy & Family Chinese Australian Cultural Society Ballarat Inc open monument chinese, chinese history ballarat goldfields, china, ballarat, goldfields, john young, chinese, mining, multicultural, immigration, tong way, goon, joss house, embroidery, billy butterfly, chinese market gardens, red lion hotel, ah soon, mayor of main road, chinese herbalist, yee lee, james hong, cheok cheong hong, john ah loo, wathawurrung, robe, lowe kong meng, louis ah mouy, tongway, gallipoli, william lung -
Federation University Art Collection
Artwork, William Peascod, 'Antique Land' by William Peascod, 1957
William PEASCOD (1920-1985) Born Maryland, Cumberland, United Kingdom. Arrived Australia 1952 The son of a coal miner, William Peascod was born in England in 1920. He worked in Dapto and Wollongong from 1953-1980. Working as a lecturer in Mining at Wollongong Technical College and Sydney University, he was also an artist, writer and accomplished mountaineer. He published his autobiography ‘Journey after Dawn’ in England in 1985. During various periods between 1953-1959 William Peascod studied painting, drawing and pottery at the National Art School, Wollongong. In 1980 William Peascod returned to England. He died in 1985, while mountain climbing in Wales. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painting in mixed media. art, artwork, william peascod, landscape, oils -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, View of Sailor’s Creek Bridge, c.1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.31 / ‘View of Sailor’s Creek Bridge’ / Albumen silver photograph mounted on boardOn Reverse" ‘Sailor’s Creek as situated in the Jim Crow Ranges, which Range forms a portion of the Great Dividing Range of Mountains in Victoria. These hills contain many romantic spots. The one which forms the subject of the present illustration is a view of the Bridge which spans the Creek. Gold has been found throughout the course of the bed of this Creek in payable quantities. The diggers, as may be seen in the photograph, have constructed sluices in the side of the embankment for the purpose of washing the fine gold contained in the wash-dirt.’nicholas caire (1837-1918), sailor's creek (vic), gold mining (vic) -
The Beechworth Burke Museum
Container - Trunk, c1870
A tin trunk used by the Rocky Mountain Extended Sluicing Company (Limited).Mining played an important role in the history of Beechworth, for the township was established in the mid-1850s after gold was discovered in the area. The success of goldmining lead to the growth and development of early Beechworth. The Rocky Mountain Company was a very successful gold mining company and had a big impact on the people and landscape of early Beechworth.A tin trunk painted in black with gold script painted on the front.The Rocky Mountain Extended / Gold Slucing Company. (Limited / BMM 8068 -
Melton City Libraries
Newspaper, Stone Walls protected, 2015
Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance -
Ballarat Heritage Services
Photograph - Photograph - Colour, Clare Gervasoni, Nimon's Bridge, 1999, 04/10/1999
Nimons Bridge was built in 1890, as part of the then Ballarat-Linton railway. The bridge is 17 spans with tall timber piers of four driven piles each, with triple sets of diagonal cross-bracing and walers and a single row of longitudinal horizontal bracing between piers. The spans are of a uniform twenty feet (6.1 metres), originally supported by four 21-inch x 9-inch (535 mm x 230 mm) Kauri timber beams per span, following the standard V.R. design of the period. When the superstructure was rebuilt after the 1953 fire, the timber beams were replaced with two 24-inch (610mm) deep rolled-steel-joists on each span. These are marked 'Lancashire Steel Co., Scotland' and are believed to have been second-hand. The deck of transverse-timber planks is 103.6 metres in length. Overall the bridge has an impressive appearance with its exceptionally tall triple-cross-braced piers creating a 'three-tiered' effect, with the deck 19.2 metres above the Woady Yaloak River. The Ballarat-Skipton line closed in 1985. Nimons Bridge has been recently restored, as part of the Ballarat-Skipton Rail Trail. How is it significant? Nimons Bridge is significant for technical, historic and aesthetic reasons at a State level. Why is it significant? Nimons Bridge is technically significant as Victoria's fourth-tallest timber trestle bridge when built, and as the third-tallest surviving example. It is also the second-largest composite bridge combining traditional timber piers with RSJ spans and a timber deck and falls within a select group of fewer than ten timber railway bridges with horizontal longitudinal bracing between the piers and three sets of double cross-bracing on its tallest piers, creating a visually striking 'three tiered' effect that enhances its viaduct form. Nimons Bridge is historically significant as having served initially the mining community at Linton, then the Western District agricultural area and in later years a kaolin quarry at Pittong. Nimons Bridge is historically significant as a representative of the 'light' branch line methodology that stimulated the explosion of railway construction in Victoria during the 1880s, and provides an interesting contrast with the more solid and vastly more expensive railway viaducts built in similar terrain on Victorian main lines, at Moorabool and Taradale, in the late 1850s. Approached by a deep cutting and high embankment at either end, the bridge represents a very cost-effective late 19th century engineering solution to the characteristic physiography of western Victoria with flat basalt plains intersected by deep wide valleys occasionally subject to severe flooding. Nimons Bridge is aesthetically significant for its visually impressive viaduct form, crossing a deep and steep-sided valley that is part of a rich cultural landscape. Within close proximity of the bridge are mullock dumps, tailings, shaft sites and other relics of the deep-lead alluvial mining era. The bridge is the most visually spectacular timber-trestle rail bridge in Western Victoria and is among the most spectacular timber-trestle rail bridges surviving anywhere in Victoria. It is part of the Ballarat-Skipton Rail Trail. Classified by the National Trust :02/10/2000 (http://vhd.heritagecouncil.vic.gov.au/places/67986)Colour photograph of a log bridge known as Nimon's Bridge.ballarat-linton, nimons bridge, nimon's bridge, log bridge, viaduct, timber-trestle rail bridge -
Ballarat Heritage Services
Photograph - Digital photographs, L.J. Gervasoni, Hepburn Blowhole blowing, c2004
Water flowing through the tunnel at The Blowhole, Hepburnhepburn, landscape, heritage, hepburn regional park, mining, blowhole, floods, weather, geology -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Victoria Park Precinct, City of Ballarat, Victorian Heritage Database place details -19/9/2017, 19/9/2017
Victoria Park is associated with gold mining in the 1860's, military manoevres in the late 19th century; as an army base during World War 2 and a recreation area.Victoria Park is a "landmark cultural landscape" in the city of Ballarat. This parkland established 1890-1910, was modelled on English country estates and London Parks. It demonstrates the civic pride of Ballarat citizens and is an important parkland for the local community. There is a collection of exotic and early planted native trees and areas of native grasslands.6 pages of print. p.1. is a front page with a map and Victoria Park marked in purple with a bibliography on p.4 and footnotes on p.6.None.john garner, victoria park, friends of ballarat botanical gardens, heritage overlay, gold mining, parkland, late nineteenth century, native grasslands, exotic and native trees, royal park, mullock heap, mount holled-smith, arbor day, messrs clegg&nicholls, william guilfoyle, w.o.allen, significant tree register, john garner collection, gardens, ballarat -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
... environment and natural landscape in the early Twentieth Century ...This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades -
National Wool Museum
Textile - Community Textile Tapestry, Lisa Kendal et al, WARM, 2016
... is a landscape scarred by coal mining. The second image is the same... is a landscape scarred by coal mining. The second image is the same ...WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming -
Stawell Historical Society Inc
Photograph, Pioneer Walk -- 3 Photos
Three colour photos of Pioneer Walk located between Main & Church Streets Stawell, photos taken in November 1992. One photo is of Big Hill and the other two of people and scenes and mining in Stawell.Three colour photos of collages decorating a walkway. The scenes are of people, building and landscapes. Copies also found in Album 4, p.49-50.151 Stawell History Mural, eft panel. Nov. 1992 151 Stawell Mural in Pioneer Walk Nov/92 151.1 Stawell Mural, center section Big Hill view. Nov.1992stawell -
Bendigo Historical Society Inc.
Painting - Bendigo Mining Country, Norman Penrose
Born in 1903, Norman Penrose studied at the Bendigo School of Mines. A painter and a teacher, he lived in Bendigo most of his life.Watercolour painting by Norman Penrose titled "Bendigo Mining Country." It shows a barren landscape of green shrubs and reddish dirt under a cloudy sky. A single poppet head and a chimney with smoke coming out can be seen on the right hand side with two houses further away. The painting is signed on the bottom left-hand side. The painting is under glass in a light brown wooden frame. Norman Penrose Collection On the back "Norman W. Penrose" ("Bendigo Mining Country') 14 Barkly Terrace, Bendigo. phone: 36420. In red chalk No 4 within a circle. bendigo, mining, norman penrose, artist, teacher -
Bendigo Historical Society Inc.
Document - Preliminary report of Structural assessment Fortuna
Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportPreliminary report of Structural assessment of Building 16 Fortuna Complex, Chum Street, Bendigo. Four page preliminary report finding the building is structurally safe as at Wed 19 December 2007 with three recommendations. Prepared for DIGO by Structural Engineers - Terry Stevens Consulting Engineers Pty Ltd.fortuna, structural assessment -
Bendigo Historical Society Inc.
Ephemera - Tour Ticket
Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportTicket for Fortuna Villa Tour conducted by the Army Survey Regiment and the National Trust. 31/12/1985. Black printing on yellow card.fortuna villa, tour -
Bendigo Historical Society Inc.
Document - Preservation proposal
Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportProposal for the formation of a Fortuna Commission to ensure the preservation of Fortuna Villa. Written by Daryl McClure. May 2012fortuna villa, preservation, daryl mcclure