Murray Comrie Collection. A black and white photograph depicting a poppethead at or near Tarnagulla. tarnagulla, mining

Coloured photograph of unknown mine. Brick chimney, poppethead and residence visible. domestic clothes lines strung between poles. Small child in foreground waliking towards photographer.mining, chimney, poppethead

The poppet head allowed miners to dig far under ground to look for gold. Colour photograph of the Sovereign Hill poppethead. goldfields, gold, poppet head, sovereign hill, ballarat east

Donald Clark Collection. Two copies of a colour photograph depicting a mine poppethead in Tarnagulla. Original photograph.

Erection of a new Poppet head. F. Smith Photo.central nell gwynne, poppethead

Black and white photograph of Deborah Extended. Poppethead in centre, sheds either side. Clothes line with prop supporting line of washing (nappies, clothes). Inscriptions: On back - 'Extended Deb', 'South of Deb'. - 'RHSV, Bendigo Branch', '1960', '259'.place, mining site, deborah extended

New Red White and Blue Consolidated. No. 5 Red White and Blue Consolidated on Left Hand Side. Copy 1991.new red white and blue consolidated, poppethead, chimneys

Joel Horwood established the foundry in the late 19th Century in Vine Street Bendigo. The Foundry manufactured mining machinery, agricultural castings, and bells.Sepia coloured photograph of Bendigo Iron Works / Horwood's Foundry. There is a large single storey building with a group of people standing in front of the side with the Bendigo Iron Works sign. Behind the building there is a chimney and a poppet head. The building is fronted by unmade roads.poppethead, horwood's foundry, bendigo iron works

Black and white photograph of a poppethead on rhs, Corrugated iron sheds on lhs. Inscriptions: on back - 'Copy of one photo of a pair from Miss Grace Litchgow, Allinga, PO Box 67, Chinchilla, Qld, 4413. Phone 076 627 127'topic, mining

copy of sepia photograph: elevated view of New Moon mine. Elevated tramway on left, crushing battery on right. Log storage in foreground. Appears to be photocopy of photograph ? On back ' view from poppetheads of New Moon Mine looking south east and showing tramway and crushing battery.lorganization, business, new moon mine

B&W photograph of Central Nell Gwynne Mine. F Smith Photograph. Printed 1995.mining, poppethead, dam, nell gwynne

B&W photograph of Hercules Gold mine with Central Napoleon to the far right. F. Smith photograph.mining, poppethead, hercules, central napoleon

Murray Comrie Collection. A monochrome photographic postcard depicting Poverty Mine & Engine House, Tarnagulla. Small building with smokestack and poppethead in middle ground, horses and workers in foreground. From Reid's Series of postcards (No.6). Reverse has a message/letter, appears from be written by Hilda Comrie for Murray Comrie, dated 11/12/1942.Message handwritten on reverse.tarnagulla, mining, comrie, poverty mine

Postcard: poppet head lookout tower, Rosalind Park, Bendigo. Image shows poppet head, eucalypt trees surrounding it. On bottom ' Lookout Tower, Bendigo' On back 'situated 92 miles north of Melbourne, Bendigo is the gateway to Northern Victoria. It is an attractive City with many modern facilities, fine Gardens and Cultural centres.Nucolorvue Productions, No. 12, Copyright.bendigo, buildings, lookout tower, rosalind park, bendigo, lookout tower, poppethead, rosalind park

Black and white photograph: image shows a mine site with mulloch dump LH side; poppet head in centre and corrugated iron mine building on RH side. At rear of building is a boiler. A large chimney, possibly metal, at front of building. Possibly Central Nell Gwynne Mine although un-named on photograph.bendigo, mining, mine site

David Gordon Collection.

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.