Handwritten letter from W. Blanchard of Court Freedom and dated January 10 1878. He is uneasy because he has not had a reply or a receipt for money he sent for Surgeons fees for Bro Doney on the 26 Dec 1877. If it was a mistake he would like a refund before their next Court meeting.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court freedom, bro doney, w blanchard?, w rowe

Letter dated January 3rd 1878 from Wm. Blanchard asking T. R. Pearce for a receipt for the Post Office Order that he sent for the Surgeons fees for Bro Doney as their late Secretary had accused him of Mis-appropriation of the funds of Court Freedom. He intended to pursue some course in the matter.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court freedom, bro doney, wm blanchard, wm rowe, court king forest

Letter written on white paper and dated March 14th 1872. Letter acknowledges receipt of P.O. Order of £1/1/6 on account of Bros Hollow and Tonkin which was placed to their credit. He also mentions striking Bro Tonkin off your Surgeons list as he has come to Clunes and to inform Bro Doney that he will be unfinancial after March 19 unless he has paid into your Court. Court Freedom No 3044 Clunes impression stamp in bottom corner.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court freedom, bro hollow, bro tonkin, bro doney, w b evans

Letter dated Sept 4th 1872 to acknowledge P.O. Order and receipt. Placed to the credit of Bro Hollow. Bro Hollow on the last Court night was two shillings& two pence in arrears. Signed by Thos. R. Pearce. Court Freedom No 3014 Clunes impressed into the paper.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court freedom, bro doney, bro hollow, thos r pearce, w b evans

Blue coupon, dated Nov 17 1875, asking Mr. J. A. Lewis, Treasurer, to pay Bro. J. H. Doney, Court Freedom the sum of £2/6/6 for 14 days Sick Pay. Signed by W. B. Evans?, Secretary. Also signed across coupon by J. H. Doney.societies, aof, correspondence, ancient order of foresters no 3770 collection - to pay, court king of the forest, j a lewis, bro j h doney, w b evans

Letter written on cream paper and dated 27 Decr 1872. Letter refers to contributions and Sick Pay for Bro Hollow, Bro J. H. Gribble, and Bro Doney. Signed by Thos. K. Pearce, Secty and was written to W. B. Evans. Court Freedom AOF No. 3014 Clunes Impression in the top left corner.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court freedom aof, bro hollow, j h gribble, br doney, thos k pearce, w b evans

Correspondence from Wm Blanchard re enclosure of money order for the sum of 15/- (fifteen shillings) as surgeons fees for Bro James Doney. Dated Clunes Dec 26th 1877.

Letter from Court Freedom dated Octr 19/1871. It mentions that Bro J H Doney, a financial member of the Court and now residing in Sandhurst is desirous of receiving the benefits of the Medical Officer and Court Freedom will pay the quarterly fees. Impression of Court Freedom seal on paper.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court freedom no 3014, j h doney, thos pearce

Black and white photograph of shops with verandah. One adult female looking in shop windows. Bicycle leaning against verandah post. In image: 'Tivey Bros, RG Nixon Proprietor', 'Bushells', 'Lan-Choo Tea'. On back: 'MP 283, copy 1', '2 copies', '95', Circular stamp 'Royal Historical Society of Victoria, Bendigo Branch'. History of object: Previous Acc. No 'MP 283', James Lerk 10.3.2000 'Inglewood. Constance (Con) Doney on footpath. Photograph by Allan Doney'.Allan Doneyplace, streetscape, inglewood

Black and white photograph of shops with verandah. One adult female looking in shop windows. Bicycle leaning against verandah post. In image 'Tivey Bros, RG Nixon Proprietor' ''Lan Choo Tea' On back:Allan Doneyplace, streetscape, inglewood

Black and white photograph. Demolition site, taken from Old Bennett's Arcade. Brick walls each side, wheelbarrows and machinery on site. Opposite 2 & 3 storey buildings with shops and offices. In image F & E Stillwell, Furniture Warehouse. On windows 'Pitson Bros', GH? Pitson, GJ? Pitson, Public Accountants, Estate Agents, Travel Agents, Sister McKenzie, Chiropodist. Identified by James Lerk as a Allan Doney photo.Allan Doney Photoplace, arcade, bendigo arcade

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.