Gravel Hill Primary School (1566) opened in 1875 and succeeded Sandhurst Primary School (586). Situated in Mundy Street, it was designed by H R Bastow the Education Department's Chief Architect following a design competition in 1872. The school closed in 1992.Bendigo Advertiser ''The way we were'' from 2003. School days: remembering the good old days, pupils at Gravel Hill school, grade 2, 1946. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Written on envelope attached: "This was sent to Aunty Mill from Aunty Grace. This photo was taken from our back gate opposite the post office. Miss Magan(?) was PM. The old Grenville Standard office run by Mr Adams. The little houses on the hill behind one was Mr Terrett a tailor who made the band uniforms. Mr Tom Bennett house butcher. The slaughter house is among the trees in the background. Note where the 'Law' is at the post office. I would like to see this enlarged. I think this photo is special because it shows the turntable where the trains used to turn before the rail went thru to Skipton which I remember all the [illegible] being made so many people working in Linton. As kids we loved to watch as the train came out facing a different way. The railway station master's house Mr Thompson was the SM. The old Grenville Standard office run by Mr Adams." Note: "Aunty Mill" = Amelia (Millie) Bennett, afterwards Millie Allen. "Aunty Grace" = Grace Bennett, afterwards Grace Wishart.Black and white postcard of Grenville Standard building with railway station and station master's house in background.On postcard: "Linton 30.6.09 [=1909] Dear Mill, you will be surprised at -- postcard and so soon. I forgot when writing, I wanted to ask you if Percy could get me a few dolls at wholesale price we are to have a bazaar for the church, and want to make something on our purchases. Let me know soon and I will get the money and quantity etc. required. Yours sincerely, Grace".grenville standard [newspaper], linton railway station, buildings, grace bennett afterwards grace wishart, amelia (millie) bennett afterwards millie allen

Two page document, carbon copy typed on flimsy paper. On first page ' South New Chum Syncline Gold Mine No Liability', Bendigo. January 20th 1934. Mine Manager's report, Jas. Phillips typed on bottom of second page. Content includes: 'The level south at the 110 ft was driven over 35 years ago by the late Geo Phillips who had a 20 head mill on the lease and as far as I can remember its about 200 ft south and of course the reef iow well above a few feet in on account of it rising in that direction and thousands of tons has been taken out of that particular block and crushed.... the writer worked on that reef in his younger days and we connected with some old workings above us known as the German's Workings collapsed and closed up from the 100 ft level to the surface'. Document is part of the Margaret Roberts Mining Collection. south new moon syncline gold mine, geo phillips, james phillips, george phillips, gold mine, reef lines

Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p175 It’s Saturday morning and thousands of people are visiting St Andrews Market at the corner of Heidelberg-Kinglake Road and Proctor Street. It’s hard to find a park. Cars are banked up along the narrow road and crammed in a nearby parking area. Yet, at the market, people look relaxed and happy amongst the yellow box gums on the site where the Wurundjeri people used to gather. Stone artefacts unearthed there by Koorie researcher, Isabel Ellender, indicate the site was once a Wurundjeri meeting place, according to Aboriginal Affairs Victoria. Acoustic sounds mingle with quiet conversations. A guitarist blows a mouth organ while his bare toes tickle chimes. A tiny busker, perhaps five years old, plays a violin while sounds of a harp emerge from the hall. One stallholder, selling delicious-looking pastries, chats to another in Spanish, then to me in broad Australian. ‘I was born in Fitzroy but my mother came from Mexico and my dad from Serbia,’ she smiles. A New Zealander fell in love with Mongolia and now imports their hand-made embroidered clothes and Yurts (tents) and runs adventure tours. A young woman visited Morocco and when friends admired the shoes she bought, she decided to import them and sell them at the market. Oxfam sells Fair Trade toys and clothes and displays a petition to Make Poverty History. Other stalls sell Himalayan salt, jewellery made from seeds from northern Australia, glass paper-weights from China as well as locally grown vegetables, flowers and organic freshly baked bread. A woman sits in a state of bliss under the hands of a masseur. Another offers Reiki or spiritual healing. A juggler tosses devil sticks – ‘not really about the devil,’ he smiles. This skill was practised thousands of years ago in Egypt and South America he says. At the Chai Tent people lounge on cushions in leisurely conversation. The idea for the market was first mooted among friends over a meal at the home of famous jazz and gospel singer Judy Jacques.2 Jacques remembers a discussion with several local artists including Marlene Pugh, Eric Beach, Les Kossatz, Ray Newell and Peter Wallace. ‘We decided we wanted a meeting place, where all the different factions of locals could meet on common ground, sell their goodies and get to know one another,’ Jacques recalls. They chose the site opposite another meeting place, St Andrews Pub. A week later Jacques rode her horse around the district and encouraged her neighbours to come along to the site to buy or sell. On February 23, 1973, about 20 stallholders arrived with tables. They traded ‘second-hand clothes, vegetables, meat, cheese, eggs, chickens, goats, scones, tea, garden pots and peacock feathers’. Now around 2000 people visit each Saturday. People usually linger until dusk. The market – with around 150 stalls of wares from a wide variety of cultures – stands alongside Montsalvat as the most popular tourist attraction in Nillumbik. By the 1990s St Andrews Market was in danger of being loved to death, as the site was becoming seriously degraded. The market was spreading in all directions and the degradation with it. A local council arborist’s report in 1994 noted exposed tree roots from erosion and compaction. The Department of Sustainability and Environment threatened to close the market if the degradation was not rectified. After many months of research, discussions and lobbying by a few residents, the council formed a Committee of Management, with an Advisory Committee, and introduced an Environment Levy. The State Government, the council and the market, funded terracing of the site to stop erosion, and retain moisture and nutrients. Vehicles were excluded from some sensitive areas and other crucial zones reserved for re-vegetation. Volunteers planted more than 3000 locally grown indigenous species. The old Yellow Box trees fully recovered and are expected to give shade for many years to come.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, didgeridoo, jesse tree, st andrews market, swiss hang drum

BHS CollectionBendigo Advertiser ''The way we were'' from 2003. Trading store: can you remember where this shop was or anything about it? The clip is in a folder.newspaper, bendigo advertiser, the way we were

Information provided to the Bendigo Historical Society by Rohan Moresi: Rohan 'grew up on a farm near Buckrabanyule. The bat belonged to Rohan and his brothers, Grant and Alistair. At the age of twelve in early December of 1977, my father took my brothers and myself to the Queen Elizabeth Oval in Bendigo to watch a match of the newly created World Series Cricket being played. West Indies versus World XI. OI took the one cricket bat we owned and a market pen, along with me. During the course of the match I gathered all the signatures I could from players as they left the field after batting, as they sat in the stands waiting for their turn to bat, and when they were fielding close to the boundary. I remember Clive Lloyd, who was sitting in the stands when I approached him, expressing some good natured scepticism that the signatures would remain permanently on the bat as he was signing it, due to the tyupe of marker pen used. I also recall Tony Greig not stopping to sign it as he left the field after batting. I'm sure he had other more pressing issues on his mind at the time. When we returned home my father painted a type of a lacquer over each of the signatures in an attempt to ensure some sort of permanency. As it was the only cricket bat my brothers and I had, we continued to use it in our backyard games. Which goes a long way in explaining its current state. My brothers and I all left the farm in the early 1980's and I took the cricket bat with me. Since then it has remained in my possession up until now. I'm very happy to see it returned to the place of its origin, and for it to be kept in perpetuity at the Bendigo Hisgtorical Society, as it is part of the twentieth century history of Bendigo. I hope it brings some small pleasure to all who are interested in such things'. Rohan Moresi Cricket bat, blue material on handle grip of bat. Bat has signatures on the blade section. The bat was taken by Rohan Morosi, then 12, at the Queen Elizabeth Oval in December 1977, where he attended a game of the newly created World Series Cricket competition between West Indies versus World XI. Rohan gathered many signatures from players as they left after batting. The signature of Clive Lloyd, Ajif Labal, Mushtag Mohammed, Dennis Amiss, Eddie Barlow, Andy Roberts, Bob Woolmer, Barry Richards, Imran Khan and Joel Garner were on the bat.recreations, sports, cricket, queen elizabeth oval, rohan moresi, 1977

253 p.; 25 cmnon-fictionThere is no other store like David Jones... and there is no other consultant like Sheila Scotter! Known variously as the Kangaroo editor (by Diana Vreeland), the black and white lady from Albert Park, and the Silver Duchess, this is the autobiography, scrapbook-style, of one of Australia's doyennes of style. For Sheila Scotter's seventeenth birthday her parents put on a 'coming out ball' in the United Services Club in Calcutta, where they lived at the time. The teenager wore a pale turquoise silk taffeta ball gown. Sheila no longer remembers what happened to that dress, but she does know that it is responsible for the black-and-white wardrobe that has been her hallmark ever since, with the exception of one occasion and one occasion only. For her seventieth birthday party, close friend John Truscott conned her into wearing red, insisting that the theme for the event was all red. And what did the guests all wear? Black and white! This anecdote lite, stylish, idiosyncratic is typical of the many that make up Sheila Scotter's autobiographical assortment. Most Australian women know Sheila Scotter through her Women's Weekly column 'Sheila Scotter Suggests' which ran between 1975 and 1980 and totalled some 235 instalments. The fact that this column is still vividly remembered 17 years later attests to the sacred place it held in every Australian household. A feminist before the word was invented, Sheila has had a formidable career. Two chapters are devoted to her career in fashion, including her time as the editor-in-chief of Vogue and founding editor of Vogue Living. The art of fundraising is also treated in some depth. In snippets, we hear of her love of cricket (which she once played); we find out how she came to live in Australia in the first place and why she has made Melbourne her home. Not surprisingly, the book reflects the personal contradictoriness of its author/subject on the one hand an aristocrat, on the other a rogue who does not respect rank; blithely mixing innate feminism with blatant coquettishness; outrageous yet scrupulously stylish; in the know yet discrete; courting notoriety while at the same time needing solitude a Like all celebrity autobiographers Sheila reserves her right to privacy while basking in the limelight. But she has used this book to set the record straight on a number of issues, including why she left Vogue, her many romantic involvements, her much-publicised spat with socialite Lillian Frank, and what was wrong with David Jones, to whom she consulted during 1994-95. The book contains the expected wining, dining and partying, as well as the inside story on some recent scandals. Sheila Scotter is glamorous and alluring, a forthright mover and shaker who inspires fear in some, awe and respect in others, and admiration and loyalty in most. No matter what you think of her, you simply cannot ignore her. Friends and enemies alike are awaiting this book with bated breath for one reason: when Sheila Scotter speaks, people listen. Contents Foreword (by Ruth Cracknell, a personal friend) Before I Begin a (explaining the rationale for the book) 1 Thursday's Child (birthdays) 2 Christmases to Remember 3 In Fashion (career in fashion) 4 A Matter of Style (Vogue Living and its influence) 5 Marriage and Other Liaisons 6 A Mixed Salad of Letters (letters, personal and business, from prominent people) 7 Fundraising: Are Committees Really Necessary? 8 Loved Ones Departed (or Why I Envy the Angels) 9 Disappointments and Other Disasters (scandals and inside stories) 10 London, Paris, Sydney, Melbourne (the places she has lived) 11 Not the Last Instalment (a look ahead) Postscript (a tribute to some special men read between the lines) Source: Publishersheila scotter, fashion