The Bulla Sports Ground, along with the clubrooms and community centre were updated in 1990. Prior to then they were used for various district sporting events but over the years they were becoming run down. They are sited in Green Street. Over the years many local sporting competitions have taken place on the Bulla Sports Ground and has been a focal point for the town's activities.A black and white photograph of a sports oval with a building in the distance. A wooden post and rail fence is in the foreground.bulla sports ground, green street

Blind cricket had been played since 1922 and originated in Melbourne, yet had no permanent home. In 1926, William Paterson (who had helped establish the first retirement home for the blind in Brighton,) approached Council asking if a section of land fronting Glenferrie Road could be used by blind sporting groups. The Council agreed, upon the proviso that a trust be set up (and one of the trustees be the Town Clerk) and that if the land was not used for recreation or sporting purposes, they would have first option to buy it back. Under this agreement, the first blind cricket oval was established and on the 7th April 1928 the first ball was bowled at a competition between the Victorian Blind Cricket Association and interstate teams. To commemorate this event and the man who helped it come about, this marker (part of the Federation Markers project, jointly funded by the Commonwealth Government and Stonnington Council,) was placed.1 plastic sign with images and wordingWorld's First Sports Ground for Blind Cricketers On 7 April 1928 the playing field at this location was inaugurated as the World's first permanent sports ground for blind cricketers when the first ball was bowled at a competition between the Royal Victorian Institute for the Blind and the Association for the Advancement of the Blind, both now known as Vision Australia. Mr William Paterson, a volunteer worker and advocate for blind people for over 60 years, was instrumental in obtaining access to these facilities on behalf of the cricketers.victorian blind cricket association, association for the blind, william paterson, cricket

Statement of Receipts and Expenditure for the Sports Ground and Club House for the Blind at Kooyong for the year ending 30th September 1939 and the liabilities of the trustees (W. Paterson, B. Goold, H. Lightfoot) being advances not bearing interest.2 typewritten sheets of financial informationassociation for the advancement of the blind, william paterson, kooyong club house

This is a postcard of the sports ground in Halls Gap, taken from Chatauqua Peak. It is No. 12197 in the Rose Series of postcards.The photo shows a round clearing (sports ground), seen from above, in the midst of bush. There are some bare strips in the middle of the field and a track around its perimeter. Some buildings are visible to the left of the field and a road runs behind it. There are more buildings just visible through the bush in the centre, on the far side of the road."The Rose Series P. 12197, Sports Ground, from Chatauqua Peak, Halls Gap, Vic" on bottom of postcard.recreation, sport

Small black and white photograph.photograph, landscape, bendigo

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.

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.

Digital photograph

Stage 3 tour of Hume and Hovell monuments organised by Russell Yeoman. At the centenary of Hume and Hovell exploration in 1924 a committee was formed to co-ordinate and organise local celebrations along the route from Albury to Corio Bay. An itinerary was created for the unveiling ceremonies giving the hour and date for each place concerned from 15 to 21 November 1924. Thirty-three monuments or cairns were erected at Violet Town, Euroa, Avenel, Seymour, Broadford, Kilmore, Mount Bland, Bulla, Moyhu, Hansonville, Benalla, Samaria, Swanpool, Yarck, Yea, The Horn (Buffalo), Myrtleford, Whorouly, Everton, Murmungee, Stanley, Back Creek, Allan's Flat, Staghorn Flat, Ebden, Bethanga, Hume Reservoir, Strath Creek, Deer Park, Werribee, Lara, Bulla, Everton.Roll of 35mm colour negative film, 7 stripsKodak Gold 200-6activities, back creek, hume and hovell, monument

Stage 3 tour of Hume and Hovell monuments organised by Russell Yeoman. At the centenary of Hume and Hovell exploration in 1924 a committee was formed to co-ordinate and organise local celebrations along the route from Albury to Corio Bay. An itinerary was created for the unveiling ceremonies giving the hour and date for each place concerned from 15 to 21 November 1924. Thirty-three monuments or cairns were erected at Violet Town, Euroa, Avenel, Seymour, Broadford, Kilmore, Mount Bland, Bulla, Moyhu, Hansonville, Benalla, Samaria, Swanpool, Yarck, Yea, The Horn (Buffalo), Myrtleford, Whorouly, Everton, Murmungee, Stanley, Back Creek, Allan's Flat, Staghorn Flat, Ebden, Bethanga, Hume Reservoir, Strath Creek, Deer Park, Werribee, Lara, Bulla, Everton.Roll of 35mm colour negative film, 7 stripsKodak Gold 200-6activities, back creek, hume and hovell, monument

The open grassed area is the remains of the football ground constructed at Camp 1. Foam backed copy in file.Coloured photograph. In foreground there is a large, flat, low, rectangle of concrete rubble. To the left of this concrete is a smaller rectangle of concrete. In centre of photograph is an open grassed area flanked by trees.camp 1, tatura victoria, internment camps, internment camp football fields, internment camp remains