Document. Two concert programs glued together in one corner. 1.''Annual Concert'' Kyabram Fire Brigade Mechanics Institute 1902. 2. ''Grand Popular Concert 1901, Town Hall, Castlemaine. Alex J. Hamilton included in both programs.performing arts, elocution, concert

Born Preston 21.10.1920. Started in the Methodist church as a Home Missionary at George Town followed by Nyah West in 1945, Burnie in 1948, Canterbury 1949-1950, Devenish 1951-1953. Following training and probation was ordained in 1952. In 1954 went to Euroa, then Kyabram 1958-1963, Warracknabeal 1964-1968, Bendigo 1969-1970, Lilydale 1971-1977; Armadale 1978-1982, Pakenham 1983 to Dec 1985. At the time of Union was assistant Secretary of the Methodist Conference of Vic and Tas B & W waist length photograph of Rev. Howard Abbey standing at a lectern, addressing an audience. abbey, rev. howard; home missionary; assistant secretary methodist conference of vic/tas; nyah west; george town (tas); devenish; euroa; kyabram; warracknabeal; armadale; pakenham

Born Preston 21.10.1920. Started in the Methodist church as a Home Missionary at George Town, followed by Nyah West in 1945,Burnie in 1948, Canterbury 1949-1950, Devenish 1951-1953. Following training and probation was ordained in 1952. In 1954 went to Euroa, then Kyabram 1958-1963, Warracknabeal 1964-1968, Bendigo 1969-1970, Lilydale 1971-1977; Armadale 1978-1982, Pakenham 1983 to Dec 1985. At the time of Union assistant Secretary of the Methodist Conference of Vic and Tas B & W waist length photograph of Rev. Howard Abbey standing at a lectern addressing an audience. abbey, rev. howard; home missionary; assistant secretary methodist conference of vic/tas; nyah west; george town (tas); devenish; euroa; kyabram; warracknabeal; armadale; pakenham

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.