An information brochure regarding Green Gables Holiday House in Marysville.An information brochure regarding Green Gables Holiday House in Marysville.marysville, victoria, australia, green gables holiday house, accommodation, information brochure

An information brochure regarding Lomatia Lodge Holiday House in Marysville.An information brochure regarding Lomatia Lodge Holiday House in Marysville.marysville, victoria, australia, lomatia lodge holiday house, accommodation, information brochure

An information brochure regarding Green Gables Holiday House in Marysville.An information brochure regarding Green Gables Holiday House in Marysville.marysville, victoria, australia, green gables holiday house, accommodation, information brochure

Cragg Sisters Father William Grundy Cragg 1862-1938 a Cabinet Maker made the Honour Roll. Brother Henry also cabinetmaker. Mother Annie Cragg (ne Wearmouth) 1863-1948 married 1895. Elizabeth (Bess or Bessie) Cragg 1896-1985 of Smith Street in 1920 prepared WW1 Honour roll for shire while she was a part time student and part time instructor at the then School of Mines. Music teacher Annie (Nan) Cragg 1897-1984 Of Smith Street Stawell. School teacher from 1915. Taught at Watta Wella. (Fat Miss Cragg). Owned a car. Marjorie Cragg1900-1982 Schoolteacher in Melbourne. Married Henry Bird Jessie Cragg 1901-1998 School Teacher from 1922 of Smith Street (Skinny Miss Cragg) looked after Cragg household. Agnes Cragg 1903-1930 Schoolteacher in Melbourne Married cousin Lancelot Wearmouth D’Arcy Street. Agnes was murdered by her husband Lancelot.   Weatherboard house in rural setting, tree at front, six people standing on verandah. Holiday House in Grampians. c1920’s Kodak Print

A colour photograph of Lomatia Lodge Holiday House in Marysville.A colour photograph of Lomatia Lodge Holiday House in Marysville.marysville, victoria, australia, lomatia lodge holiday house, accommodation, lomatia lodge, photograph

Black and white photo of the Smith family house on Park Drive just past Belgrave Lake Park. The House appears to have an enclosed verandah. A man, possibly Oscar Smith, is looking out of the window and a second person, possibly Pam Harris's sister, is also looking out. Below them, two young people, a boy and a smaller girl, are standing in the garden. This was possibly the caretaker's place. '1627' is stamped on the back of the photo. The photo probably dates to the 1940s and is part of a collection of family photos donated by Pam Harris, Shire of Sherbrooke President, 1982-1983 & 1987-1988.

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.

An advertisement for the Mary Chain of Guest Houses in Marysville, Sherbrooke and Mount Martha, which was taken from a Broadbent's accommodation guide. The guest houses were built in the depression years by Eric Dowdle.An advertisement for the Mary Chain of Guest Houses in Marysville, Sherbrooke and Mount Martha, which was taken from a Broadbent's accommodation guide.marysville, victoria, australia, mary chain guesthouses, eric dowdle, rita dowdle, marylands, mary lyn, mary lodge, kerami, mary meadows, mary brook, barron of beef, mary port, guest house, photograph, sherbrooke, mount martha, broadbent's accommodation guide, advertisement

View of timber house with a man and two children standing on the balconykamanange, kalorama, robinson

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of Mr Alfred Morton and his friend, Mr Doug Campbell at his holiday house, in what was to become Morton Grove, Chelsea. morton, chelsea, carrum, morton grove, holiday house

Black and white postcard of the town, taken from Holiday Inn Guest house, situated on the Kalimna Heights escarpment. It shows light trees and scrub in the foreground, the township situated between the North Arm and Cunningham arm, the hummocks of the southern shore. The hulk of the Baang Yarnda is lying on the south shore of North Arm. Lakes Entrance Victoria 2 Black and White postcard size copies|1 Colour tinted copy postcard size|1 Black and White enlargement 16 x 25 cmView from Holiday Inn Lakes Entrancewaterfront, topography, township

Robinson Family holiday house. Family car in driveway.kamanange, kalorama, robinson

In 1878, the first chicory kiln was built by Mr. John and Solomon West, in Thompson Avenue, Cowes, near the Esplanade and the second kiln was built in 1880 by Mr Joseph Richardson.HistoricalLarge black & white photo of a brick chicory kiln with a metal roof,door and window. In a paddock with large trees nearby.2nd chicory kiln on Phillip Island, now turned into a holiday house.chicory, chicory kilns, joseph richardson,

Water tank at side of Kamanange - Robinson Family holiday house in Scenic Crescent, Kalorama.kamanange, kalorama, robinson, water tank

Close up view of unknown man working on an addition to the Robinson holiday house Kamanange.kamanange, robinson, kalorama