The Harvest - 'ese vineyards

Now and then, original thinkers retreat to the countryside from "civilized" cities to seek new inspiration, freedom, and happiness. These pioneers need the tranquility of nature to think and reshape their ideas, and so change the course of history. We crafted such a retreat for our family to get out of Sydney for holidays and live in a small vineyards - something of extraordinary in the heart of Coal River Valley near Hobart. So, welcome to The Harvest, let this be the place you rather be! The space For those who do not like the true essence of Tasmania, rural landscape, in the middle of no where, a vineyard house that sits between Tea Tree Road and Tasrail freight train line - then this place is probably not for you! For those who like the unique Tasmanian experience, welcome to The Harvest! Here at The Harvest, it's all about the cultivation and perfection of beings - so come and tend the vines with us and see the difference. Our cottage sits inside 'ese vineyards at the heart of Coal River Valley wine region of Tasmania. Perfect as a countryside retreat for nature and wine lovers. With spectacular 360-degree views of rolling hills along the Valley and majestic view of the Mt. Wellington/Kunanyi from a far, the property is located at the best vantage point in the valley. Natural vines, a small veggie garden and fruit trees, horses, bunnies, cows, sheep, grass land - all are within your close views and will entertain your stay with peace and happiness. You can call this an enjoyable experience living in a small hobby natural farm + vineyards at the heart of the famous Coal River Valley wine region. Only approximately 30 minutes from Hobart CBD or Hobart International Airport. Guest access The cottage is at a unique location for guests who come to explore Tasmania at its best: natural living, outstanding wine cellars and vineyards, whiskey distilleries, Zoodoo Wildlife Park, heritage town (Richmond) in and around greater Hobart and Coal River Valley. Coal Valley Golf Links, Colebrook Golf Club, Tea Tree Golf Club are all minutes away. Whether you want to give it a try and live a new country lifestyle for a couple of weeks or to just getaway to the island for the weekend, this is a unique new experience that may influence your perspective in life. If you seek a place for new inspiration, freedom, and tranquility where you can sit all day gazing at the landscape, paint, write, read, or drink - this is the place you probably rather be. Please note that this is a working vineyard so there will be containers on site housing wine and farm equipment. We value your privacy and will do our best to preserve your space and privacy. Please be assured that we are an organic, natural farm so we do not use any harmful chemical sprays. RENTAL POLICIES 1. Smoking is NOT allowed OR Smoking is allowed outside only. 2. People other than those in the Guest party set forth above may not stay overnight in the property. Any other person in the property is the sole responsibility of Guest. 3. The owners are not responsible for any accidents, injuries or illness that occurs while on the premises or its facilities. The Homeowners are not responsible for the loss of personal belongings or valuables of the guest. By accepting this reservation, it is agreed that all guests are expressly assuming the risk of any harm arising from their use of the premises or others whom they invite to use the premise. 4. Keep the property and all furnishings in good order 5. Only use appliances for their intended uses. 6. Pets are NOT allowed. OR PETS are permitted only with prior approval and must follow the below rules: 6.1. All pets must be leashed at all times. 6.2. Guest is responsible for cleaning up any/all pet refuse. 6.3. Pets are not allowed on furniture at any time. Any evidence of pets on furniture may incur extra cleaning fees. 6.4. All pets are to be treated with a topical flea and tick repellent three (3) days prior to arrival. Fleas and ticks are rampant in this area and can cause harmful/fatal illness to humans and pets. 6.5. Pet must not cause damage to premises or furnishings. If damages are caused, the cost of the damage may be deducted from security deposit. 6.6. Pet will not be left unattended for an undue length of time, either indoors or out. Pet will not be left unattended on balcony, patio, or porch. 6.7. Homeowner assumes no responsibility for illness or injury that may incur to pets or humans while on the premises. 7. Housekeeping: There is no daily housekeeping service. While linens and bath towels are included in the unit, daily maid service is not included in the rental rate. 8. Fireplace: Please use only hardwood provided. 9. Water and Septic: The property is on a town water and septic systems. The septic system is very effective; however, it will block if improper material is flushed. DO NOT FLUSH anything other than toilet paper. No feminine products should be flushed at any time. 10. The vineyard: The vineyard is on 6 ha with abundant nature and farm animals. Please explore the vineyard at your own risk. Children are supervised at all times. Other things to note The Harvest as in Vincent's painting This letter below by Vincent van Gogh discussing his painting (Courtesy of Van Gogh Museum) is copied here in order to set a similar vibe, scene and landscapes to be enjoyed at this countryside cottage: From: Vincent van Gogh To: Theo van Gogh Date: Arles, Tuesday, 12 or Wednesday, 13 June 1888 "My dear Theo, I’m writing you another line because I haven’t yet received your letter. But I presume you’ll have said to yourself that I would probably be at Saintes-Maries. As the rent for the house and the painting of the doors and windows and the purchase of canvases have all come together and drained me dry, you’ll do me a very great service by sending me some money a few days early. I’m working on a landscape with wheatfields which I believe is no worse than the white orchard, for example. It’s of the same kind as the two Butte Montmartre landscapes that were in the Independents, but I think it’s more substantial and that it has a little more style. And I have another subject, a farmhouse and haystacks, which will probably be its pendant. I’m very curious to know what Gauguin will do. I hope he’ll be able to come. You’ll tell me it serves no purpose to think about the future, but painting progresses slowly, and in that respect one does need to calculate ahead. Gauguin, no more than I, would be rescued if he sold a few canvases. In order to be able to work we must organize our lives as much as possible and need a reasonably firm basis to have our existence assured. If he and I stay here for a long time we’ll make paintings that are more and more personal, precisely because we’ll have studied things in this part of the world more deeply. It’s quite hard for me to imagine myself changing direction; having made a start on the south it’s better not to move than — penetrating ever deeper into the region. I believe I have more chance of succeeding in doing things — even business affairs — that are a bit larger, than if I hold back and do them too small. And that’s precisely why I think I’m going to enlarge the format of my canvases and boldly adopt the square 30 canvas. Those cost me 4 francs each here and that isn’t dear, considering the transport. The last canvas absolutely kills all the rest; there’s only a still life with coffee-pots and cups and plates in blue and yellow that can stand beside it. It must be in the drawing. What I’ve seen of Cézanne involuntarily comes back to mind, because he has presented the harsh side of Provence so forcefully — as in the harvest we saw at Portier’s. It has become something quite different from in the spring, but I certainly have no less love for nature that is starting to get scorched as early as now. There’s old gold, bronze, copper in everything now, you might say, and that, with the green blue of the sky heated white-hot, produces a delightful colour which is exceedingly harmonious, with broken tones à la Delacroix. If Gauguin wished to join us, I believe we’d have taken a step forward. It would establish us squarely as miners of the south, and nobody could find fault with that. I have to achieve the firmness of colour that I have in that painting that kills the rest. When I think that in the past Portier used to say that the Cézannes that he’d had looked like nothing at all seen on their own, but put next to other canvases they’d beat the colour of the others hollow. And also that the Cézannes did well in gold, which presupposes a very highly pitched range of colour. So perhaps, perhaps, I’m on the right track and my eye’s adapting to nature here. Let’s wait a little longer to be sure. This last painting can bear the red surround of the bricks with which the studio is paved. When I put it on the floor against this very red red-brick background, the colour of the painting doesn’t become hollow or white-looking. The countryside near Aix — where Cézanne works — it’s precisely the same as here, it’s still the Crau. If, coming home with my canvas, I say to myself: look, I’ve arrived precisely at père Cézanne’s tones, I only want to say this, that Cézanne, belonging absolutely to the region itself, like Zola, and therefore knows it so intimately, you have to do the same internal calculation to achieve the same tones. Goes without saying that seen together they’d hold their own, but there would be no resemblance. Handshake, I hope you’ll be able to write in the very next few days. Ever yours, Vincent" Registration Details Exempt: This listing falls under Section 12 of the Land Use Planning and Approvals Act 1993