black and white photo: Benevolent Home, Bendigo. Two storey building with columns supporting pediment. Lawn and some garden along front of building. On bottom of photo: ' Murray Views, No. 5 Benevolent Home, Bendigo, Vic.'Murray Viewsbuildings, hospital, benevolent home, benevolent home, bendigo, aged care, hospital

black and white photo: Benevolent Home Bendigo,,, two storey building with columns supporting pediment. Fence across front, brick pillars on entrance, ornate iron fence infill. On bottom LH side of photo: Benevolent Home, Bendigo. On RH side, ' No. 20' On back of photo ' Valentine's Post Card, a genuine photograph'Valentine's Post Cardbuildings, hospital, benevolent home, benevolent home, hospital, aged care

Black and white photograph of the Benevolent Home, now known as The Ann Caudle Centre, located in Barnard Street Bendigo.government, state, local, benevolent home/ann caudle centre

PHOTOGRAPH - BLACK AND WHITE. BENEVOLENT HOME, BENDIGO. Printed on photo No. 20. Now known as Anne Caudle Centre.place, building, anne caudle centre, bendigo. benevolent home. anne caudle

Letter of acknowledgement of donation to Christmas Appeal from the Bendigo Benevolent Home. Attached receipt dated 06/12/1960 for 1 pound 1 shillingorganization, institution, bendigo benevolent home

The certificate relates to William John Turner Bendigo RSL Sub Branch. On the day the award was given Sir George Lansell acted on behalf of the President of the Benevolent Home Jtn Smalley. Another Life Govenorship was also give to Mr D.T. Langlands at the same time for the same work with the RSL. Refer Cat No 8029 for details re this award and other RSL work and fund raising. Refer Cat No 8030 for details re his RSL Committee details and WW1 service history.Framed certificate, frame is timber gold colour, certificate backing is maroon, certificate is light fawn colour with ornate edging, at the top “Bendigo Benevolent Home - Life Govenor” followed by details of the award, all print in blue & black, signed and dated, a red seal is in the bottom RH corner.Main points: “We certify that Mr W.J. Turner was duly appointed Life Govenor of this Institution on 14th October 1953” “J. Smalley President” “H. Truscott Vice President” “ ................... Hon Treasurer” “ J.H. Perryman Secretary”brsl, smirsl, life govenor, certificate

Letter congratulates Mrs Sylvia Mitchell on winning the Most Popular Conductress competition. Signed by the President of the Appeal Committee A C Fraser. Demonstrates a congratulatory letter to Sylvia Mitchell.Letter typed on The Ballarat District Benevolent Home letterhead and dated 1/9/1944most popular conductress, sylvia mitchell, tramways, sec, red cross

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, benevolent home, cars

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, benevolent home

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, benevolent home, gardens

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, benevolent home

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, benevolent home

A box containing (1) cuttings about nurses and hospitals. Sources include 'Bendigo Advertiser,' 'Women's World' and 'The Age.' (11) A booklet on the opening of 'Kurmala' on June 8th 1935. (111) Bendigo Benevolent Home Annual Report 1962-3.1961-66.Bendigo Advertiser, Womens World, The Age, Bendigo Benevolent Home Annual Report.medicine, nursing, hospitals, lydia chancellor, collection, medical, hospitals, hospital, nursing, bendigo and northern district hospital, 'kurmala, ' bendigo benevolent home

Bendigo 1950s. Benevolent Home Centenary. The light on top is the number 100. Decorations on building.buildings, hospital, benevolent home, bendigo 1950s. benevolent home centenary. the light on top is the number 100. decorations on building

Bendigo 1950s. Benevolent Home Centenary. The light on top is the number 100. Decorations on building.buildings, hospital, benevolent home, bendigo 1950s. benevolent home centenary. light on top is the number 100. decorations on building

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.