No 103 Williamson Street Bendigo - Actual Address Unknown - may have been demolishedhistory, bendigo, national trust collection bendigo, 103 williamson street bendigo

Postcard labelled Williamson Street, Bendigo.bendigo, streetscape, williamson street

Limerick Castle Hotel, Williamson Street, Bendigo National Trust Collection: Limerick Castle Hotel, 259 Williamson Street, Bendigo 3223 A - undated colour photographs (2) of the frontage of the Limerick Castle Hotel. 3223 B - 26/11/1986; City of Bendigo, City of Bendigo Planning Scheme, Notice of Determination to retain or demolish the frontage of the hotel, dependent on the submission and approval of plans 3223 C - 5/12/1986, Ministry Victorian of Planning and Environment expresses concern at the proposal to demolish the Hotel 3223 D - 8/12/1986 Central Victorian Branch of the National Trust expresses it concern to the City of Bendigo Town Planner regarding the demolition of the building, stating the building is on the register of architectural and historic importance bring prepared for Council. 3223 E - 12/12/1985 the Central Victorian Branch of the National Trust formally objects to a replacement building on the site of the Limerick Castle, and for any alteration to the main facade or verandah. The objection is handwritten and refers to the Trust's 8th December letter. 3223 F - 15 Dec 1986, item 10 (2888/86) of the Ordinary meeting of Bendigo Council regarding submission by Defors Holdings Pty. Ltd. and Aldal Pty. Ltd. to demolish (or part demolish) existing building and redevelop the site for shopping arcade and tavern. 3223 G - 21/12/1986 "basic notes" provided by David M Breaden ARAIA stating the "retention of the Limerick Castle Hotel building facade is imperative". 3223 H - 22/12/1986 "some (4) information relating to Bendigo's Historic Limerick Castle Hotel" submitted by D.G. Martin. 3223 I - undated, one-page handwritten submission with nine points regarding the time scale of the proposal to redevelop the Hotel site which "does not appear to be well documented, the design lacks detail and was only proposed ass a compromise when demolition was not allowed". 3223 J (A & B) - 20/12/1986 three articles from in the Bendigo Advertiser regarding the planning proposal for a single storey redevelopment of the site. 3223 K - undated three-page submission on the redevelopment of the Limerick Castle site, noting three alternative redevelopment proposals 3223 L - 7/01/1987letter of thanks to Mr. T. Westmore for assistance with discussions over the Limerick Castle Hotel from the National Trust of Australia 3223 M - 3/03/1987 handwritten thanks expressed to Councillors and Council Officers over the redevelopment of the Limerick Castle from the Central Victorian Branch of the Trust. 3223 N - 15/12/1987 articles from the Bendigo advertiser noting the "Trust mobilises to save the Limerick Castle"notes on face and rear of some documentationhistoric building, central victorian branch of the national trust, saving the facade and redevelopment of the hotel

Colour photo of Williamson street as taken from the Clock tower at the old Bendigo Post Office looking in a southerly direction. The bottom left corner shows the flag pole on the Shamrock Hotel.bendigo, streetscape, williamson street, williamson street bendigo

Postcard, Williamson Street, Bendigo, Showing St. Paul's church in centre rear, large chimney in front of it, Tree lined streets including Hargreaves St., Williamson St. Andrews Auction Rooms on the Williamson St corner. Top right is the railway goods shed and in front of that is the Fortuna Hustler's Mine poppet legs.postcard, photograph, bendigo, williamson street

Colour photograph: Limerick Castle, 259 Williamson Street, Bendigo, two storey brick hotel, lace verandah on both levels. Gable in centre of top level. 'Balcony now open, food and drinks' sign on verandah top. Red corrugated iron roof on verandah. 'Limerick Castle Hotel' sign on top. Appears to be early 70's ?bendigo, hotel, limerick castle hotel

Colour photo: Royal Mail Hotel, Corner Williamson and Hargreaves Streets, Bendigo. Three storey hotel, the bottom in brown and grey bricks, the top two storeys painted in grey. The name Royal Mail Hotel in red letters above main entrance.bendigo, hotel, royal mail

Williamson Street, Bendigo. 1987slide, bendigo, streetscape, williamson street, bendigo

School 86 - 59 Student Nurses - Preliminary Training School 86 - Ausbrook and Martin Photographers 311 Williamson Street Bendigo 3 Black and White Photos. Long Rectangular photo of Nurses in 3 rows back 2 standing and front seated. Male nurse in middle of front row seated Photo taken outside with trees and building in backgroundAusbrook & Martin Photographers 311 Williamson Street Bendigonursing history, nurse training

Black and white postcard of Williamson Street looking toward the Post Office, on the right the Shamrock Hotel, six or seven horse carriages and several persons can be seen.bendigo, streetscape, williamson street

Thompson Roy Morrison (1900-1972) was born in Bendigo and married Ivy Maria Knight in 1924. They lived at 63 Williamson Street. Ivy died aged 31 in 1933. Thompson remarried Violet Jean Hesse in 1936 but she died in 1938 also aged 31. Thompson was a motor painter.Black and white photograph mounted on rectangular grey board. House, weatherboard and rough cast, corrugated iron roof, porch with roughcast balustrade and pillars, 1 chimney, picket fence with capping board, garage at back on left hand side. Scalloped pattern on front gable with vent. On back of photo: Morrison, Williamson Street, sewered £1450'. 2012 photo of house attached to record.Frank A. Jeffree, Bendigo?bendigo, business, t c watts and son, stamped on back ''t.c. watts and son'' stamped on back in circle ''royal historical society of victoria, bendigo branch''

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.