Map of Eaglehawk and Long Gully area. Maps shows allotments and areas. Map is split down centre (torn?) and in two pieces. Map was located in Fortuna papers, potentially belonged to G. Lansell. Section of map has been neatly cut out - area near Mt Korong Road and Victoria Hill.map, eaglehawk, long gully, marks collection

Sepia photograph with a card mount of a group in front of the exterior of the Sunday School.California Gully, Eaglehawk Methodist Church. Sunday School Teachers and Officerseaglehawk methodist church sunday school

Hand drawn map of Red Jacket Gully, Eaglehawk, showing lease holdings. Scale 8chs to an inch, written on map. Red Jacket Gully drawn across lease holdings. Plan forms part of the Margaret Roberts Collection.gold mining, gold, red jacket gully, eaglehawk

Typed and handwritten copies of an account of the Centenary of the Eaglehawk North (Sailor's Gully) S. S. No. 1428. held in July 74.9 Also a copy of a poem titled' Sailor's Gully School Centenary June 17th 1974 by Allan Llewellyn.document, names of bendigo pioneers, eagle hawk, eaglehawk north (sailor's gully) s. s. no. 1428 centenary, mr c r moyle, mrs ethel bull nee jackson, mr charlie moorhead, mr clive gotch, cr bill allen, mrs allen, chief superintendant frank kelly, eaglehawk citizens brass band, mrs toots gray nee walters, moon reef hotel, mrs jane c carr nee holborn, mirradong home for the aged blind, mr allan (llew) llewellyn

Copy of a newspaper photo titled To Make Bend Safer. Photo shows a tram passing a newsagent shop. On the right is a dilapidated picket fence. Allso hand written paper on one side is: Approx 1966 ? One of the last trams No 18 to run up Main Street of Long Gully (Bond Street) Now known as Eaglehawk Road. On Left - Post Office - now Gents Hairdresser & Rose of No 3 Australia Hotel. On Right - Les & Marie Norris Newsagency & Mixed Business. 2 story building was Commercial Hotel. No 26 Tram was the last to run between Bendigo, Long Gully & Eaglehawk. Still running as a Tourist. Donated by Alan Crossley. tram in Bendigo 1987 1985. On the other side is written: One building has already been demolished and the proprietor of the Newsagency & mixed business Mr. L W Norris, will also demolish and rebuild further back from the road in preparation for eventual re-alignment of the Long Gully bend by the Country Roads Board. The Board declared an alignment some years ago for the corner - a severe traffic hazard - but, the assistant Divisional Engineer, Mr G Marshallsea said yesterday the Board had no immediate plans. These were one of the last Trams to run through Long Gully.bendigo, history, long gully history group, the long gully history group - eaglehawk road - long gully

White cardboard mount, 35mm slide, from the Association of Railway Enthusiast's film strip titled "Provincial Tramway Film Strip" of a Bendigo Nos. 26 (Quarry Hill) and 25 (Eaglehawk) at Jobs Gully Loop. The film strip notes (Reg. Item 2560), provided the following caption details: "Bogie cars 26 & 25 meet at Jobs Gully loop about a mile from the terminus. Apr ' 72 (Graham Evans)" See image btm2595p.tif for high level scan of image. Stamped on base of slide "11805" and written in ink on top edge "26 & 25 Jobs Gully Eaglehawk"tramways, trams, are, film strip, jobs gully, eaglehawk, tram 26, tram 25

Colour photograph: Manchester Arms Hotel, Eaglehawk Road,Long Gully. Single storey building, white painted with 5 posts brown verandah at the front. On side wall "Des and Dave Manchester Arms Hotel" and underneath Carlton Draught. A blue car is parked at the front and there is a man working on the roof.bendigo, hotel, manchester arms

Large black and white photograph of Eaglehawk Road Long Gully. Showing on the right hand side at the front a light pole with a sign Methodist Church followed by butcher shop, few houses, a church and a poppet head. On the left side of the road a series of houses. A tram and two cars can be seen on the road.bendigo, streetscape, long gully

Colour photograph of two attached terrace buildings, shop sites, Sailors Gully Road, Eaglehawk.Estelle Hewstonattached terrace buildings, sailor's gully

From a Golden Past to a Healthy Future, a history of the Eaglehawk & Long Gully Community Health Centre, 97 pages with black & white photographs, illustrations and maps. Research paper submitted as part of the requirements for BA degree Humanities. 1885Dianne N Franciseaglehawk, health, community health centre, eaglehawk & long gully community health centre, health, eaglehawk - history.

Clarence United Co. was located at Eaglehawk North, near Sailor's Gully Road. Clarence United transverse section showing main shaft and levels. Written on top of plan: 'Clarence United Co'. 40 ft to an inch. Plan forms part of the Margaret Roberts Collection.gold mining, gold, bendigo, clarence united co., eaglehawk, sailors gully road

The Centre of a Community, a brief history of the Eaglehawk and Long gully Community Health Centre. 68 pages. B&W photos and illustrations Ray Wallace EditorRay Wallace ( editor )eaglehawk, health, community health centre, eaglehawk, long gully, health, community health centre.

Colour photograph: Court House Hotel,Sailors Gully Road, Eaglehawk. Single storey hotel, three doors, four windows on front façade. Façade painted pale green, white trim. Hotel name in brown across top of façade.bendigo, hotel, court house hotel

Forty-five paged booklet ''Has a pioneer church a future?'' - A history of the Forest Street Uniting Church buildings, by L D Faulkner. Not dated but probably 1993 (see Ministers, p. 37). A detailed history comprising as per the Table of Contents; Introduction; Wesleyan Beginnings; First Permanent Buildings; Second Permanent Chapel; Vestries & Church Extensions 1877/78; Sunday School Additions; The 1900's; Conclusions; References; Bibliography; Appendices; Additional Papers i. Ministers, ii Trustees, iii Organists & Choir Leaders, Site Plan. Illustrated with (generally poor quality) B&W photographs.L D Faulknerchurch, history, uniting church forest street, l. d. faulkner. wesleyan church. jimmy jeffrey. golden gully, white hills, eaglehawk gully, long gully. thomas raston. edward stone parker. w.h. vahland. fincham pipe organ. j. watson.

Diggers & Mining. Stores at the diggings. Eaglehawk Gully, 1852. The Stock were driven to the diggings, and killed in small slaughter yards. Slide shows mining area at Eaglehawk Gully. Markings: 24 994.LIF. 5. Used as a teaching aid.hanimounteducation, tertiary, goldfields

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.

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.