The Fortuna house features luxurious elements such as marble baths, stained-glass windows, grand staircases, and ornate ceilings, reflecting George Lansell's taste.Fortuna Article - "Photo of Fortuna and lake" - The "way we were" Bendigo Advertiser 09 July 2002 This item contains the following: 11217.31a Black and White photo of Fortuna and lakenon-fictionbendigo, fortuna, george lansell

Black and white photograph showing lake by 'Fortuna'. The mansion owned by Ballestredt and later, Lansell families. View shows willowed margins and wind-driven construction on lake surface. Inscriptions: Top RH corner face of mount. MP 213. Stamped in circle on back: 'Historical Society of Victoria, Bendigo Branch'. Top RH corner on back 'MP 213' printed in clack ink. Written in blue ink 'Main Lake at Fortuna'. History of object: Previous Acc. No. 'MP 213'.cottage, miners

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

Matt finish, black & white photograph, on cardboard back of same size. Photo depicts lake view with a woman sitting on diving board on left hand side of photo. Inscription in red pen on rear of photo reads 'An artificial lake in Survey Regiment 'Fortuna' Bendfortuna villa, photograph

Slide. Bendigo Street Views & Fortuna. Fortuna Lake with the Fortuna Mansion in the background.slide, bendigo, bendigo street views & fortuna., bendigo street views & fortuna.

Slide. AHQ, Survey Regt, Fortuna, Bendigo. Fortuna lake in foreground with a building at rear.slide, bendigo, ahq, survey regt, fortuna, bendigo., ahq, survey regt, fortuna, bendigo.

Slide. Bendigo Street Views & Fortuna. Fortuna lake in the foreground with trees and shrubs, with the Villa showing in the centre and on the left.slide, bendigo, bendigo street views & fortuna., bendigo street views & 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-reportConservation report for the Pompeii Fountain & Adjacent Structures at "Fortuna" Chum Street, Golden Square, Victoria. Prepared for Fortuna Historical Committee. March 1996.Halina Eckersley, Architect & Conservation Planner, Kewpompeii fountain, greenhouse, fortuna lake, gardens

Black and white photograph of Fortuna with lake in foreground. Poppet head and chimneys in background. Inscriptions: on front - 'W Ninnis' Photo Bendigo. Inscription on back: 'Old Chum Mine - New Chum Hill. Taken from rear, Lansell's Fortuna lake.' A. Richardson, 29 Harrison St., Bendigo.buildings, residential, fortuna villa, bendigo, mines and mining, mine, mines, mining, poppet head, old chum mine, landscape, mining landscape

This is a collection of three photographs taken at the Army Headquarters Survey Regiment, Fortuna Villa, Bendigo, circa 1950s to 1960s. Personnel are not unidentified.This is a collection of three group photographs taken at the Army Headquarters Survey Regiment, Fortuna Villa, Bendigo, circa 1950s to 1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. They were scanned at 300 dpi. .1) - Photo, black and white, 1950s. Group photo of unidentified personnel by Fortuna’s lake. .2) - Photo, black and white, 1950s. Group photo of unidentified personnel at a wind up party. .3) - Photo, black and white, 1960s. Group photo of unidentified personnel by Fortuna’s lake.Personnel are not identified. Photo .2P. is annotated ‘Wind up party’.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This is a set of three photographs of an Open Day held at the Army Headquarters Survey Regiment, Fortuna Villa, Bendigo, circa 1960s. Although most of the photos were taken outdoors, a technical tour may have been conducted through the production areas of the unit. It is likely the band performing next to Fortuna’s lake in photo .3P was the 3rd Military District Band.This is a set of three photographs of an Open Day held at the Army Headquarters Survey Regiment, Bendigo c1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. They were scanned at 300 dpi. .1) & .2) - Photo, black and white, 1960s. Unidentified civilian visitors. .3) - Photo, black and white, 1960s. The 3rd Military District Band, unidentified civilian visitors..1P to .3P – no annotationsroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

These eight photographs of Army Survey Regiment personnel with the Inter-Service Sailing Trophy were taken on the bank of Fortuna’s Lake at Bendigo circa 1980. Army Survey Regiment’s personnel were encouraged to participate in Inter-Area, Inter-Service and Combined-Service sporting competitions held annually. The unit’s highly skilled sailors formed the core of Army’s Inter-Service Sailing Team in Victoria for many years.These eight photographs of Army Survey Regiment personnel with the Inter-Service Sailing Trophy were taken at Fortuna, Bendigo c1980. The proof photographs were printed on paper and are part of the Army Survey Regiment’s Collection. The photographic proofs were scanned at 600 dpi. .1) & .2)- Photo, black & white, 1980, Personnel with the Inter-Service Sailing Trophy, L to R: WO2 Noel ‘Nesty’ Coulthard, SGT Doug Carswell, MAJ Sam Schwartz - US Exchange, SGT Rowan Gillies. .3) - Photo, black & white, 1980, Personnel with the Inter-Service Sailing Trophy, L to R: WO2 Noel ‘Nesty’ Coulthard, SGT Doug Carswell, SGT Rowan Gillies. .4) - Photo, black & white, 1980, Personnel with the Inter-Service Sailing Trophy, L to R: SGT Doug Carswell, WO2 Noel ‘Nesty’ Coulthard, SGT Rowan Gillies. .5) - Photo, black & white, 1980, Personnel with the Inter-Service Sailing Trophy, L to R: WO2 Noel ‘Nesty’ Coulthard, SGT Rowan Gillies. .6) - Photo, black & white, 1980, Inter-Service Sailing Trophy, SGT Rowan Gillies. .7) - Photo, black & white, 1980, Inter-Service Sailing Trophy, SGT Doug Carswell. .8) - Photo, black & white, 1980, Inter-Service Sailing Trophy, WO2 Noel ‘Nesty’ Coulthard. .1P to .8P – No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Black and white photo. Fortuna Villa and lake, looking from far side of lake to Villa. Inscriptions/Markings: C1940. KALMA FILM SERVICE, BENDIGObuildings, residential, fortuna villa, kalma film service, bendigo

This set of 10 photographs of the Army Survey Regiment’s victorious rifle shooting team was taken outside the Tavern at Fortuna, Bendigo in c1979. The rifle shooting competition was the ‘Irwin Trophy for Shooting’, a contest with the British Army’s 42nd Engineer Regiment, the equivalent military geographic mapping unit at the time to the Army Survey Regiment. The bent .303 rifle seen in photo .3P was retrieved from the bottom of Fortuna’s lake when it was drained for restoration. It is believed an excavator drove over the rifle before it was retrieved.This set of 10 photographs of the Army Survey Regiment’s rifle shooting team was taken at Fortuna, Bendigo in c1979. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The 35mm positive photographic proofs were scanned at 600 dpi. Larger prints of .1P, .3P and .10P were scanned at 300 dpi. .1) & 2) - Photo, black & white, c1979, Rifle Shooting Team - L to R: Warren ‘Waldo’ Shirley, John Waight, Peter Searle UK Exchange, CO LTCOL Bob Skitch, Jim Macdonald, John Harrison, Max Neil, Stan Vote. .3) - Photo, black & white, c1979, Rifle Shooting Team - L to R: Stan Vote, John Harrison, Max Neil, Warren ‘Waldo’ Shirley, Jim Macdonald, John Waight. .4) - Photo, black & white, c1979, Rifle Shooting Team - L to R: CO LTCOL Bob Skitch, Jim Macdonald, Stan Vote. .5) - Photo, black & white, c1979, Rifle Shooting Team - L to R: John Waight, Warren ‘Waldo’ Shirley. .6) - Photo, black & white, c1979, Rifle Shooting Team - L to R: Warren ‘Waldo’ Shirley, CO LTCOL Bob Skitch. .7) - Photo, black & white, c1979, Rifle Shooting Team - L to R: CO LTCOL Bob Skitch, Warren ‘Waldo’ Shirley, Stan Vote, Jim Macdonald, Max Neil. .8) - Photo, black & white, c1979, Rifle Shooting Team - L to R: Jim Macdonald, Max Neil, Stan Vote. .9) - Photo, black & white, c1979, Rifle Shooting Team - L to R: CO LTCOL Bob Skitch, Peter Searle UK Exchange, Warren ‘Waldo’ Shirley. .10) - Photo, black & white, c1979, Irwin Trophy for Shooting..1P to .10P –No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Composite Panoramic Black and White Photograph showing Fortuna Villa & surrounds with Lake in foregroundplace, building, residential, fortuna villa, mine, mining, fortuna, george lansell, christopher ballerstedt

Black and white photograph of Old Chum Mine and New Chum Hill and Lansell's Fortuna with villa and lake. Lake in foreground.place, mining site, new chum