Colour photographs of bush around Marysville showing signs of regrowth after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth

A colour photographs showing regrowth on Eucalypts from Kings Road, Marysville. The trees werw to a hot burn during the 2009 'Black Saturday' bushfire. A newly constructed house is in the foreground.bushfire, black saturday, marysville, kings road

A number of colour photographs showing regrowth on Eucalypts from Kings Road, Marysville. The trees had been subject to a hot burn during the 2009 'Black Saturday' bushfire. A newly constructed house is in the foreground.bushfire, black saturday, marysville, kings road

This photograph shows the regrowth of vegetation on the road between Genoa and the border - now the Princes Highway.This is a pictorial record of the main road from Orbost to the New South border, The Princes Highway, in the early 20th century.A large black / white photograph of a bush road wwith a vehicle and a man on the side of it.on back - " Princes Highway showing the regrowth.....1913"princes-highway-genoa transport

Photograph shows a bush scene with trees that are regenerating after a bushfire in the Upper Plenty area.Part of the John Ramsdale collection of slides and audio visual material.Colour photograph scanned from slide.No maker's marks. Caption on slide "T & Bs"bushfires, upper plenty, vegetation

Digital copy of colour photographfred mitchell collection, 1968, bushfire, yan yean reservoir

landscape, bushfires

landscape, yarra valley

Colour photograph of the Marysville locality from Nicholl Lookoutbushfire, black saturday, marysville, nicholl lookout

Colour photographs from around Stevenson's fall near Marysville.bushfire, black saturday, marysville, stevenson's falls

Front cover has a photograph of a bush fire. Back cover has a photograph of a burnt tree with some regrowth.non-fictionA book of photographs taken in and around the Marysville region during the Black Saturday bush fire. Also some photographs of the regrowth of the bush in the months after the fire. marysville, black saturday, bush fire

Colour photographs of bush around Marysville showing signs of regrowth after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth, o'shannassy water supply catchment

Colour photographs of bush near camberville showing signs of regrowth after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth, o'shannassy water supply catchment, camberville

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

In February 2009 bushfires devastated Marysville, resulting in in nation-wide support enabling a rebuilding programme. A number of colour photographs documenting the remarkable recovery of Marysville after the 2009 Black Saturday Bushfires. Badly burnt trees reshoot, houses are rebuilt, but black scars remain on hillsides where the heat was at its hotest.marysville, bushfire, regrowth

Colour photograph of the bush around Marysville after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth

Colour photograph of the bush around Marysville after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth

Colour photograph of the bush around Marysville after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth

Colour photograph of the bush around Marysville after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth

Colour photograph of the bush around Marysville after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth

Colour photograph of the Big Culvert near Marysville after the "Black Saturday' Bushfire.bushfire, black saturday, marysville, regrowth

British born artist John Wolseley relocated to Australia in 1976, where he travelled extensively through the outback mainly recording the natural history of remote north Australia in large, minutely detailed paintings. Since 2009, he has travelled to Darwin annually to continue his exploration of the Top End, visiting Arnhem Land and Daly River to work with Indigenous artists to research and capture the detail and essence of particular landscapes. His works reflect how landscape can be thought of as fields of energy in which plant forms move or dance with rhythmic life. After The Fire - Leaf Surge represents the vibrant regrowth of new foliage emerging from a landscape recently ravaged by fire.

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

Theodore Ballerstedt originally purchased the Fortuna site from the Crown in 1857. The firstimprovements at Fortuna were undertaken by the Ballerstedt family and consisted of a small mill and house. At the peak of the mining era (c.1860s) Fortuna was central to the deep alluvial gold mining operations of Bendigo. In 1871 Theodore Ballerstedt sold the house, mine and associated works to George Lansell 'The Quartz King'. During his time at Fortuna, Lansell owned 13 mines and directed a further 73 in Bendigo. Fortuna was occupied by the Department of Defence from 1942 and was compulsorily acquired for Army use in 1957. Since that time Fortuna has been occupied by the Army and other various Defence organisations. During Defence's ownership, additional buildings were constructed and existing buildings were modified for re-use. In 1992 Defence purchased the adjoining undeveloped property, commonly known as the Bush Block. This parcel of land adjoins the main Fortuna landholding. It is approximately 0.8 hectares in size and is predominately covered in vegetation regrowth. Heritage investigations note that the uniqueness of Fortuna lies in the mixture of architectural styles of the Villa. The relationship between mining and domestic areas and the. close proximity of the two is considered rare to Australian domestic building of that time. The primary building on the site is the Fortuna Villa. With the wealth Lansell generated from gold mining he funded the continuous expansion of the Villa and surrounding grounds. The Villa is built in a number of architectural styles, namely Victorian Italianate and Victorian Free Classical, with Federation influences. The surrounding landscape featured up to seven decorative lakes in the early 1870s, including one larger lake which still remains today. The former lakes were originally used as disposal points for tailings produced in the gold processing activities at the site. Heritage investigations note that the uniqueness of Fortuna lies in the mixture of architectural styles of the Villa. The relationship between mining and domestic areas and the. close proximity of the two is considered rare to Australian domestic building of that time.Fortuna - Drawing Presented to Brian McLachlon This item contains the following documents: 11217.77a Six copies Black and White drawing by Jason Nickson (cleaner) presented to Brian McLachlon on his transfer to the USA. Drawing shows Brian on a motor bike being farewelled by the Fortuna Villa (holding a baby named DIGO) and welcomed by the Statue of Liberty and the US flagnon-fictionbendigo, fortuna, george lansell, jason nickson fortuna cleaner, brian mclochlon fortuna