DON DOVE – 2016 Victorian Harness Racing Hall of Fame inductee A highly successful trainer-driver, Don Dove had something that most colleagues never had – his own sire. After making his mark early on as a driver, Don began training and driving the progeny of Dignus, a grand-son of Light Brigade he had purchased. Many of its 57 winners he trained and drove himself. The most memorable of these of course was his best-ever pacer, a 1966 colt he named Monara. It won successive A. G. Hunter Cups in 1973 and 74, and many other races – so often with this brilliant beginner going to the lead and then Don playing cat-and-mouse tactics out in front before dashing this son of Dignus away and holding off all comers. Those who may remember the 1972 Inter Dominion Final when Don was having a little holiday, will agree Monara was something beaten into second place that night. Don won many races on his brother Eric’s trotter Just Money, along with Nelson’s Report, Lauries Legacy and Kara Miss, and filled in well when winning the 1965 Warragul Cup driving the great little Macaree, and the 1967 Victoria Derby driving Kelly Kid. When the Victorian Trainers and Drivers Association formed in 1968, he was elected to its first committee. Don is also the father of Trevor and Stephen, both well known horsemen of a few seasons back. In retirement, Don Dove moved to Queensland in 1998 and it was there he passed away in 2014 at the age of 86.Yellow, with green crossed sashesdon dove, d dove, monara, amlin, bendigo harness racing club, bhrc, bendigo, horses, race colours, trotting, pacing, harness racing, dv dove

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 7, Boyd begins by discussing the difference in cities, including age, population density and colours across Australia, Europe and America. Boyd discusses individual streets compared to the whole city and how the two are ultimately different and unique. He remarks that in Australia, the word 'city' is used to mean the whole 'complex' of city and suburbs, "a pattern reflecting free personal spending and yet a tight public purse". Boyd references Canberra as the Australian domestic dream come true. "Canberra is genuine Australian". He notes that the making of cities is not just a question of money. It's a question of priorities.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965.Typewritten (c copy), foolscap, 13 pagesuniversity of the air, design in australia, robin boyd, town planning, zoning, canberra, brasilia, punjab, cities, suburbs, manuscript

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Three colour photographswalter withers rock, walter withers reserve, mary owen

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen

Patriotic Fund Raising days were held in order to raise money and support for the soldiers fighting overseas. In the photograph are L to R: Marion Gilbert; Annie Nixon; Jean Cameron; Hattie Nixon and Grace Cameron' The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the British Red Cross. It came into being as a branch of the British Red Cross Society on August 13th 1914 to succour the wounded in the First World War.This is a contemporary record of a significant event in Orbost. It reflects the involvement of Orbost, a small town, in the efforts of the Australian Red Cross Society to provide comforts to soldiers during World war 1.A black / white photograph / postcard of four ladies and one little girl dressed in Red Cross outfits standing in front of a cart loaded with patriotic goods for sale. A sign on the cart has ":SOLDIERS' COMFORTS" on iton back is a list of namesorbost-red-cross ww1

The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the British Red Cross. It came into being as a branch of the British Red Cross Society on August 13th 1914 to succour the wounded in the First World War. Carnivals were held in Orbost during war times to raise money for the overseas troops. This is a contemporary record of a significant event in Orbost. It reflects the involvement of Orbost, a small town, in the efforts of the Australian Red Cross Society to provide comforts to soldiers during World war 1.A black / white photograph / postcard of four women in white uniforms standing in front of a cart filled with goods for sale. The cart is decorated with Union Jack flags.on back - "Patriotic Carnival 1914-1918"orbost-red-cross ww1

Used during Korean War Won (1947-) Main article: North Korean won After the division of Korea, North Korea continued using the Korean yen for 2 years until the Central Bank of the Democratic People's Republic of Korea was established on December 6, 1947 and a new currency was issued. It was at the time pegged at par to the Soviet ruble. It was revalued at a rate of one hundred to one in February 1959 and new won were issued. In the following years the won faced some devaluation, caused by the subsequent devaluation and redenomination of the Soviet ruble. From 1978 to 2001, the North Korean government maintained an iconic rate of 2.16 won to the US dollar; since then banks in the country exchange at rates closer to the black market rate. However, rampant inflation has been eroding the North Korean wŏn's value to such an extent that currently it is believed to be worth about the same as the South Korean wŏn. In any case, the U.S. dollar and other currencies are still worth more in North Korean wŏn on the black market than officially. South Korean currencies[edit] Won (1945-1953)[edit] Main article: South Korean won (1945) Following the end of the division of Korea, the won was introduced to replace the Korean yen. The won was subdivided in 100 jeon. The first banknotes were issued by the Bank of Joseon in denominations ranging from 5 jeon to 100 won. In 1950 the currency management switched to the Bank of Korea and new notes were then issued, mostly with higher denominations. The first note put in circulation by the Bank of Korea in 1950 was printed in Japan by the National Printing Bureau (国立印刷局). The next year the Korea Minting and Security Printing Corporation was created and took over as printer of South Korean currency. At the time of the introduction in 1945 the won was pegged to the Japanese yen at a rate of 1 won = 1 yen. In October of the same year the anchor currency got change to the US dollar at a rate of 15 won = 1 dollar. Toward the end of the Korean War the won was devaluated at 6000 won = 1 dollar. Following that the hwan was introduced as the new currency at a rate of 1 hwan = 100 won. Hwan (1953-1962)[edit] Main article: South Korean hwan Due to devaluation of the won the hwan was introduced on February 15, 1953 at the rate of 1 hwan = 100 won. It was subdivided in 100 jeon, but they were never used. New banknotes in denominations between 10 and 1000 hwan were issued. Starting in 1959, 10 and 50 hwan coins were also issued to replace the lower denomination notes. Those were the first circulating coins in South Korea. Due to the short notice of the change in currency, the first series of the new notes was commissioned from the United States Government Printing Office. The notes were released in five denominations, all with an identical design. Some replacement notes with a more suited Korean theme were later issued, starting with the 100 hwan just a month later. The hwan suffered from inflation as well. At its introduction, it was pegged to the United States dollar at 1 dollar = 60 hwan, but toward the end of its life it was devaluated at 1 dollar = 1250 hwan. In 1962, the won was reintroduced at the rate of 1 won = 10 hwan. The 10 and 50 hwan coins were kept in circulation until March 22, 1975.5 Currency notes issued by Korean Government and R.A.A.F. denominations of 100, 100 Won and 1 shilling国立印刷局, currency korea, money korea, money korean war

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph showing a panoramic view from Wych Cross which was a guesthouse in Marysville. The Wych Cross Private Guesthouse was part of the Wych Cross Private Hotel Co. Ltd of which Mr. Felix Jellicoe was Managing Director at the time. The guesthouse burnt down in a fire on the 14th of November, 1926. This fire started in the kitchen where it was soon extinguished by one of the employees. However, it is believed that sparks from the earlier fire, which were not noticed at the time, ignited the second fire which destroyed the weatherboard guesthouse in 20 minutes. Guests who were staying at the guesthouse were all away from the premises at the time of the fire and lost all their belongings; including one guest who lost a considerable sum of money.POST CARD REAL PHOTO/ THE "ROSE" SERIES DE LUXE PRODUCED IN AUSTRALIA Published by "The Rose Stereographs"/ Armadale, Victoria. "Sunnyside"/ Marysville/ 18/12/26 Dear Mr & Mrs De La Rue/ Just a line/ or two in which to convey the very/ best of good wishes. A very happy/ Christmas and Happy New Year/ to you and your family./ Yours sincerely Mrs. & Miss Newman. wych cross, marysville, victoria, p. 4959, rose series postcard, postcard, souvenir, wych cross hotel co ltd, felix jellicoe, guest house, 14th november 1926

Until the closure 40 years ago, the Myrtlebank Guesthouse near Halls Gap in the Grampians was a thriving family - run business. In 1962, all that changed when the government of the day purchased the land on which the guesthouse stood and some neighbouring farms and houses. For almost 40 Years, the remains of the buildings have been submered under the man made reservoir known as Lake Bellfield. Due to drought, the eater levels have dropped steadily and, in the past month, the memories underneath Lake Bellfield have come to the surface. Local resident Don warren 70, has been to have a look. His grandmother Anne Flower Warren, was 56 when she opened the guesthouse in 1916. Widowed, the year before after a horse kicked her farmer husband, Mrs Flower needed to provide for their large family. "She had 13 children - seven daughters. I think she built it to look after the girls," Mr Warren says, "The whole think was built on a 500 acre farm." With the guesthouse sited in the centre of the farm, the land was divided between two of her sons- Mr Warren's uncle working one side and his father taking the other. For Mr Warren, the grounds of the two-storey guesthouse were an extension of a huge rural playground in what he remembers as an idyllic childhood. "I used to get taken over there and I'd sit there and watch her make all the toast for the guests. It was quite full all the time - maybe 40 or 50 people. It was a great big place - very grand. In the bedrooms I can remember the great big bowls full of water to wash your face in. There was a big dining room, too. My grandmother was a great cook." By the time of Mrs Warren's death in 1936, her eldest daughter also Anne, had officially taken over the running of the business. "It was in the family right until the last bit. The youngest daughter, Auntie Hilda, took it over right at the end. they got a notice to say that's it - it's over There was no way out of that one." Mrs Ida Stanton, 78, is the historian for the Halls Gap and Grampians Historical Society. Can she remember it when it all happened? "Of course" she says "It's only 40 years ago" Her memories of Myrtlebank are of a place popular with honeymooners, who would often return year after year, bringing their families with them. "There was a lovely ballroom where they used to invite the Gap people and the tourists in to have balls. During the war it was one means of making money to send stuff over to the soldiers." Seeing just the stumps of the guesthouse and what had been his family home, Mr Warren says the bitterness is still there. "The hardest part was poor old dad. He was 70 years old when he got turfed out. Dad had been a farmer all his life - 214 acres, he had, and he got 22,000 quid. Had to move into town" Also showing beneath the drying lake is the concrete slab of the new home Mr Warren planned after his marriage to wife Anne in 1955. Another lost dream. " I was the only child, I was going to take over the farm, but that all changed. You can't take it over when it's full of water.Newspaper clipping of history of Myrtlebank by Don Warren and photo of Don at old site of pooland guest House photo Article by Claire Halliday from newspaper 2002accommodation, guesthouses, myrtlebank

The article shows a photo of the original Hall's Gap Hall and the (then) new Hall, which was built in 1956. The copy has been scanned as two separate images (because it was too large for the scanner). the second image is stored under "Additional Images". HISTORY OF HALL'S GAP HALL: No village, no matter how small, could possibly survive without a public meeting place, and Hall's Gap was no exception, even in 1899-1900. Actually it was the locals of Stony Creek village, as Hall's Gap was known for a short time, who decided to hold a meeting to find out how much interest there was in building a town hall! They soon found out that support was overwhelming, as can be seen by the fact that 14 gentlemen nominated for a position on the committee of four! Several motions were moved at that meeting, mainly with reference to the materials to be used, for instance that no "wattle and daub", but rather slabs of bark and local bush logs be used. The walls were to be constructed of slabs, 6 feet long, 9 inches wide and two inches thick. Uprights were to be 9 feet high and at least 9 inches thick. Sheets of bark, all 32 of them, had to be 8 feet by 8 feet. Tenders for the building materials were called on 9 March 1899 and, 21 days later, McKeon Brothers won the right to supply all the material for the princely sum of 4 pounds 10 shillings. The size of the hall was to be 20 feet by 10 feet. The first hall served the community well for the next thirteen years, being regularly used as a place of entertainment and religious worship. The growing community soon realised the need for a larger venue, with better facilities, so once again the townsfolk rallied to raise funds for a new hall, realising their dream around 1913. In 1921 a schoolteacher was provided by the education department but as there was no school building she was expected to use the hall. Mainly lessons were held in the kitchen as it was much warmer than the hall itself, and it was not unusual for up to twenty children to be taught, ranging in age from 5 to 14 years. It was not until 1928 that an official school was built. 1955-56 were years of great excitement. The Progress Association was in charge of deciding the format for the new hall, and there were many rowdy meetings beforehand. Some members had much more vision than others, and to some the amount of money required seemed astronomical. Two hall committee members resigned over differences of opinion but amazingly it all came together in the end, albeit at a greater cost than had been anticipated. There is only one record of a grant being made for the building,1500 pounds, and it came for the Minister of Public Works. Estimated cost of the building was around 8,000 pounds, and when finally finished it was just slightly over, but bank charges and interest took it to well over 9,000 pounds. An electric light generator was included and lighting installed. The SEC electricity was connected in 1962.A copy of a newspaper article entitled 'The Old . . . and the Present!', which includes two photographs.buildings, halls

Multi-fold brochure advertising public auction of one-acre, 2-acre, 5-acre and 8-acre allotments in Ringwood and Bayswater on Saturday 12th April, 1919. Brochure includes terms of sale, description of subdivision features and local facilities, and photographic images of the area.Subdivison includes Canterbury Road Heathmont, Armstrong Road Heathmont, Armstrong Road Bayswater, Bungalook Road Heathmont, Bungalook Road Bayswater, and Orchard Road Bayswater. Road shown as Bayswater Road to Bayswater became Mountain Highway Bayswater. Vendor: H.E.B.Armstrong, Auctioneers: Coghill & Haughton, 79 Swanston Street Melbourne, Telephone Central 2793, in conjunction with J.B. McAlpin, Ringwood, Opposite Station, Telephone Ringwood 7. (Map) Woodcock & McCormack, Civil Engineers Architects & Surveyors, 430 Little Collins Street, Melbourne, Phone 3241 Central. MOST OF THE MONEY COMES OUT OF THE LAND. And more money can be obtained from anb acre of fruit than from an acre of any other produce. But you do not have to grow fruit on Garden Farms Estate. You can go in for - Outer Suburban Home - Market Garden - Orchard - Pig Raising - Poultry Farm - Small Dairy Farm - Small Fruits - Floral Culture - Scent and Bee Farm - Or just for a Week-end Home. RINGWOOD - THE PLACE TO LIVE. The Beautiful Ringwood District has so many natural attractions, that half a Land Agent's work is done in just showing a prospective buyer round and about. Ringwood has a pull of its own that attracts folk, proved beyond doubt by its rapid development within the last decade (spite the war). First, it is high and healthy, picturesque and undulating, convenient of access, sufficiently close to the Metropolis for City and Business folk to live at Ringwood. Its development is solid, because most of its people are industrious husbandmen, real producers, who have turned idle hills into smiling gardens. These are the kind of real people to live amongst; ones who wear out their spades. The rapidly-developing town has excellent Stores, Trade and Repair Shops Churches, Banks, Telephone Exchange, Weekly General Market, Cool Stores, and good Private and State Schools, etc.; is Electrically lit, has Metropolitan Water Supply, and generally provides so that practically all shopping can be done locally. WHY RINGWOOD MUST GROW. Ringwood is a great centre and must be a greater. Two rapidly-developing railways junction here. The passengers from Ringwood Station cityward, in one year, number 250,000. Ringwood will be the terminus of the Outer Suburban Electric Eastern Railway. Its natural boundaries are the River Yarra on the North, Dandenong Creek on the South, the popular town of Croydon on the East, and the suburb of Mitcham on the West. This is a large territory that is steadily being converted from intense culture, and then it might be called (as regards its gardens) "The Devon Territory of Victoria." ARMSTRONG ROAD. This new road traverses Garden Farms Estate from its northern boundary on the main Canterbury Road, across Dandenong Creek, to its southern boundary on the main Bayswater Road, and will provide a long-desired additional link of communication between Bayswater and Ringwood. The 1-acre building sites on Bayswater Road are within 8 minutes' walk of the Bayswater Railway Station, and the Canterbury Road frontages are only 1-1/2 miles from Ringwood Station, and 1/2 mile from the Railway Station site of Canterbury Road; therefore, the whole Estate is easy of access and there should be a large demand for land so favourably placed. (Image) Cultivation Field - Potatoes on Lot 28 (Image) Picture of Bayswater Creek Flats. (Image) View from "Korumbeen" where Mr. Armstrong lived on Garden Farms Estate. Estate outlined in white ring. (Image) Site of New Bridge over Dandenong Creek. (Image) On one of the timbered lots adjoining railway. (Image) This Dandenong Creek traveres the Estate. (Image) Main Fern Tree Gully Line bisects the Estate.

This is part of a collection belonging to Sgt, William E. CarrollThis is a copy of a letter written by 815 Cpl William Carroll to his Aunt while he was hospitalised in Cairo. It is written on YMCA letterhead.Top Left hand Corner: Patron/ YMCA National Council/ H.M. The King/ Patron /Military Camp Dept./ H.R.H. Duke of Connaught. Centre top: For God, For King & For Country/ YMCA Logo/ with the/ Mediterranean Expeditionary Force. (written through the logo)/ Right hand top corner: Committee/ for Egypt/and/the Near East./ Chairman/ H.E. Sir Henry McMahon Lower down page: Reply to No. 815 Coy D Bat 21st/ Dec 31st '16/ Stationed at/ Dear Aunt,/ I am at present a patient in the (??)/ General Hospital, Egypt, back again at Cairo. I/have a slight abcess on my lip and my neck was a/ bit swollen, but both are almost right now./ It's quite a relief to be away from the shot &/ shell, for a spell & to enjoy comfort and sunshine/ again after four months hardships in the trenches./ During the latter part of my stay at ANZAC, it/ was intensely cold, snow & ice galore & freezing/ cold winds. It's five days since I left the pen/insular; we were taken off in a small steamer/ to Lemnos & put aboard a fine hospital ship./ We arrived at Alexandria yesterday morning/ & came on here last night. My lip has been/ lanced & the swelling is disappearing fast./ I had many miraculuous escapes in the trench./ Once whilst observing over the sandbags a barage/ ventilated my hat. On another occasion when/ I was stiring the porridge a piece of shrapnel/ knocked over our breakfast into the fire. So I have/ a lot to be thankful for to be sure./Many of my comrades have gone and are buried in the/ churchyard in Shrapnell gully & more are away sick/ and wounded. I intended to cable to you for some money but I think I'll be able to make do/ of it, & we have all our wants attended to here./ Do you remembr Willy O'Leary of Mansfield?- He/ was killed near us in an attack some time ago./ Young Sgt. Roberts, my chum of Dookie & Broadmeadows/ was also sniped a few days before I left./ The war doesn't appear to be going too well, but/ I am sure time will tell, & we will eventually/ give the Germans a good belting. Just address/ my letters as usual, as I don't think I'll be here/ for long & if I am my mates will send them/ on. I gave them permission to keep any parcel/ you might forward on whilst I am away. It was/ awfully good of you to send the other thing along./ Hoping all are quite well./ I am/ Your Affectionate Nephew/ William E. Carroll. Cpl/ww1, battalion, aif, 815, sgt, carroll, e, 21st, 6th, brigade, 1st, dcm, wiiliam

``Newspaper clipping from "The Mail", 17/2/98, P 1. Gamblers lose $27 million. By Faye Michelson Maroondah gamblers lost just over $27 million on the city's 477 poker machines during the last financial year. Victorian Council on Problem Gambling spokesman, Rob Wootton said research showed that most money spent on gambling came from the household budget. Welfare agency budgets have been stretched to the limit.`

The International Committee of the Red Cross was formed in 1862. Initially its purpose was to try and find ways of overcoming the inadequacy of army medical services so as to alleviate the suffering of those wounded in armed conflict. Over time it has extended its work to include many forms of humanitarian aid in times of peace and war. The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the British Red Cross. It is especially remembered in the provision of “comforts” for soldiers overseas. Enormous sums of money were raised, and thousands of women volunteers contributed their time by making vast quantities of clothing: socks, vests, mittens, mufflers, pyjamas and a variety of linen. Items were sent to headquarters located in the state capitals, often using government houses as depots, where, after being sorted and packed by yet more volunteers, they were sent to Britain or the front. The effect of this work for the recipients was to bring comfort in its truest sense, for a seemingly trivial gift of a bar of chocolate of a pair of dry socks could bring the most profound relief for a soldier on the Western Front. From the date of its inception until the armistice the ARCS dispatched 395,695 food parcels and 36,339 clothing parcels Between 1914 and 1918 more than £3,500,00 was collected and spent on Red Cross services to the Australian Forces and Empire Forces. During WW1 and WW2 Red Cross raised funds selling buttons.Early settlers in Moorabbin Shire held fundraising events for the support of Red Cross Victoria and made cakes and knitted socks, gloves and scarves for distribution to serving men and women Metal buttons with printing on themRed Crossred cross, fund raising buttons, wwi, wwii, french red cross, british red cross, market gardeners, early settlers, moorabbin shire, bentleigh, cheltenham, caulfield repatriation hospital

The International Committee of the Red Cross was formed in 1862. Initially its purpose was to try and find ways of overcoming the inadequacy of army medical services so as to alleviate the suffering of those wounded in armed conflict. Over time it has extended its work to include many forms of humanitarian aid in times of peace and war. The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the British Red Cross. It is especially remembered in the provision of “comforts” for soldiers overseas. Enormous sums of money were raised, and thousands of women volunteers contributed their time by making vast quantities of clothing: socks, vests, mittens, mufflers, pyjamas and a variety of linen. Items were sent to headquarters located in the state capitals, often using government houses as depots, where, after being sorted and packed by yet more volunteers, they were sent to Britain or the front. The effect of this work for the recipients was to bring comfort in its truest sense, for a seemingly trivial gift of a bar of chocolate of a pair of dry socks could bring the most profound relief for a soldier on the Western Front. From the date of its inception until the armistice the ARCS dispatched 395,695 food parcels and 36,339 clothing parcels Between 1914 and 1918 more than £3,500,00 was collected and spent on Red Cross services to the Australian Forces and Empire Forces. During WW1 and WW2 Red Cross raised funds selling buttons.This Carnival was an example of the support given to Red Cross by market gardeners, early settler families and schools in Moorabbin ShireDandenong Red Cross Carnival 1917red cross, dandenong, springvale, chelsea, dingley, keysborough

This photo is reproduced in the book on Oliver Gilpin's life by his granddaughter Muriel Perry, titled 'Just a pocket for the money', 1995, p.84. The staff names have been labeled as 'Kath? (M), E.Myles, M.Haly, D. Walker, V.Bond, I.Christensen, L.Mattinson, D.Shipsides, J. Miles, '(Coal Creek Historical Village per I. Devlin) Note : (M) Abbreviaton for Manager.Photo of 9 female staff from O.Gilpins Dimboola store, circa 1935on back of frame: Dimboola, 1935?

Part of an advertorial for the OGilpin stores produced in 1932. The whole article is on p.14 of 'just a pocket for the money', by Muriel Perry.Framed advertising print of O.Gilpin's fleet of trucks.O.GILPIN LTD LORRY OF O.GILPIN'S CHAIN STORES

TROVE : The Ballarat Star (Vic. : 1865 - 1924) Wednesday 20 October 1920 p 7 Article 'A LITTLE DOCTOR FOR DYSPEPTICS If you want quick relief from the pains and distress of indigestion, dyspepsia, food fermentation and acidity, just take two or three little tablets of Bisurated Magnesia after eating or whenever pain is felt. Bisurnted Magnesia tablets are absolutely harmless, and enable the dyspeptic to enjoy a good- old-fashioned meal with out fear of pain or distress to follow. That’s why Bisurated Magnesia is called “The Little Doctor for Dyspeptics.” . Go to the nearest chemist and get a packet of Bisurated Magnesia tablets to-day; he sells them in handy flasks at small cost, and with every one is included a. binding guarantee of satisfaction or refund of money. Thus, unless this “Little Doctor” gives you the benefit you desire, you pay him nothing. Bisurated Magnesia is also obtainable in powder form. Beware of substitutes. Look for the maker’s name—Bismag. Ltd., which appears on every .genuine package'. Advertisement in 'The Illustrated London News' 22 July, 1916, page 117. '96 out of 100 dyspeptics have Acid stomachs'. BISMAG LTD, 212-214 Great Portland St., London W. Round clear glass bottle with wide neck and text embossed on side and base. 'BISATURATED MAGNESIA BISMAG LTD LONDON' on side. 'B' over 'I' on base.bisaturated magnesia, bismag, magnesia

Documents relating to mortgage between Mr. Joshua James Jewell of Mitiamo, farmer, and Mr. T. Luxton , The Exchange, Collins St., Melbourne for land at Parish of Terrick Terrick West, County of Gunbower, mortgage document dated 4th. July 1892. Contains 3 Conditions of Sale documents, newspaper clipping re clearing sale of 2600 acres of land on behalf of Mr. J.J. Jewell, farming implements, machinery, household effects at 'The Hill' Mitiamo.. Letters relating to transactions re above mortgage enclosed, including discharge of mortgage handwritten document between Sarah Berges and Joshua J. Jewell. Note name change from Connelly & Tatchell, to Connelly, Tatchell & Paling. Letter enclosed in file from Mr. Joshua Jewell, 'The Hill' Mitiamo, Oct 4th., 1893 to Mr. T, Luxton, requesting ' waiting another (?) for money I will be able to pay it before the month is up but at present I cannot meet it. I have just commenced to shear and of course money will be coming in now'cottage, miners, joshua james jewell, thomas luxton, terrick terrick west, gunbower, mortgage, connelly, tatchell & paling, s. berges, connelly, tatchell & dunlop, paling.

Postcard from WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion while posted in Egypt to his family at home.Embroidered silk postcards were first made in 1900 for the Paris Exposition. The popularity of silk postcards peaked during the First World War 1914 - 1918.They were mostly embroidered by French women in their homes and then sent to the factories for cutting and mounting on cards. Many of the cards were illustrated with patriotic symbols, flags, slogans, or sentimental texts. During the First World War, many Allied officers and soldiers based in France sent silk embroidered postcards to their loved ones back homeWhite rectangular postcard with embroidered foliate and flowers bordering a message. Handwritten message on back.Front: "Remind / France" (embroidered) Back: "1268 2 of 5 Pioneers Battalion" "Egypt / May 28 1916" "My dear Alice just a PC to let you know I'm well and hope you are all the same I got a letter from you yesterday and Enid PC but I have not got the money yet did you ??? if you need not send enny more till I send for it well I have not seen joe since you say you are goin gto town for a trip it will not hurt you i wish I was going to will my eyes are a bit weak yet it is the sand and flys. well this is all at present. Best love to all from your loving husband Will xxxxx"wwi, postcard, embroidered postcard, carte postale

Interpreting from the details that can be read it is believed that on 6/3/1912 Mr. M. Norton paid by cheque the sum of 5 Pounds 19 Shillings and 5 Pence, of which 5 Pounds 3 Shillings and 11 Pence was for a Summons possibly issued on 23/2/1912, while 15 Shillings and 6 Pence was the charge for the costs of the Summons. This is not a document issued by a Court of Law so use of the word 'Summons' is confusing to us at this stage. Was it just standard practice to send out a bill and call it a Summons, or was Mr. Norton late in paying and so had to pay an extra charge after being 'summoned' a second time. Could this receipt be part of a 'promissory note' exchange, payment for which had to be summoned? Another thing that can't be explained at this stage is the use of the symbol % after the amount of money written in figures, just after the Pence amount. The symbol for Pence in those days, and until decimal currency, was d as can be seen from the Duty Stamp. In 1912 and before did % also stand for Pence when the money amount was written by hand, or could it have been a shorthand way of indicating something like 'portion of amount'? This receipt is very intriguing and so we will endeavour to try to fully understand the information it contains. If any person can provide information that may assist us, then please contact the Sunshine & District Historical Society. The receipt is significant to our Society because it was issued by Sunshine Harvester / Hugh V. McKay more than 100 years ago. It also appears to contain information that at this stage is not fully understood, such as the use of the % sign, and why the word summons is used. Of further interest, but perhaps not surprising for the times, is that only Mr. is printed on the receipt. It appears that they never expected to issue these type of receipts to females.Very light tan coloured paper receipt No.1773 issued on 6/3/1912 by Sunshine Harvester / Hugh V. McKay to Mr M. Norton. The receipt has fire damage on the left side and so some details are missing. Details are hand written in ink in the spaces provided. A greenish coloured one penny (1d) Victoria Stamp Duty stamp is affixed.6 3 1912 ......ved by Cheque from Mr. M Norton ......ne the sum of Five ...... nineteen Shillings and five Pence, with ......being £5.3.11% of Enclosed Summons 23. 2.12 & 15/6 % Costs of Same.receipt no. 1773, sunshine harvester, hugh v. mckay, mr m. norton, 1912, victoria stamp duty, 1d

Chris was invited to be artist in resident for the historic re-enactment of “Shearing the Rams” at the North Tuppal Station woolshed held on the 4th and 5th June 2010. The celebration attracted record crowds to witness the shearing of the station rams by 72 blade shearers. Over a single weekend in 2010, thousands of people queued for hours to see a piece of Australian history recreated at North Tuppal Station near Tocumwal, NSW. In 1900, Francis Faulkner invested a staggering £4000 to extend his shearing shed on Tuppal Station, making it the biggest in the country. Over the next decade more than three million sheep trod its pine boards and were shorn in its 72 stands. After years of drought and the Great Depression, the property fell into disrepair and the station was split up. When North Tuppal Station was sold to the Atkinson family in 1928, just five of the 72 stands were in operation. In 2010, Sport Shear Australia approached the Atkinson family about holding an event in the historic shearing shed to raise money for a team of Australian shearers to go to the world shearing title in Wales. An army of volunteers restored the T-shaped shed and yards and organised a weekend of events. Over two days, 6,000 sheep were shorn and all 72 stands of the restored North Tuppal shed were brought back to life. A total of 117 shearers shared the boards with 90 wool handlers who skirted 19 fleeces every minute. For a period on each day of this historic weekend, the machines were then silenced, and 72 shearers picked up their old blade shears to recreate past shearing methods. “When they fired up and got the blades out there was deathly silence on the board - you could hear a pin drop because normal shearing you have all the machines and it is quite noisy. Here you could just hear the click, like in the song Click Go the Shears Boys. People had tears in their eyes. It was quite an emotional thing to see that and very proud to be here.” George Falkiner, grandson of Francis FalkinerColoured framed print of shearing scene in the Tuppal station, Ferrrier’s wool press on the left-hand side and station on the top. Print in framed in a light-coloured wooden frame with white coloured matte.Under artwork - In 1891 Tuppal Station, a sum of 176,000 acres threshold, was bought by Mr Fiane Sadlies Falkines, Under the management of his eldest son F.B.S. Falkines, the 72 stand woolshed was build in 1900 and powered by a 16 horsepower steam engine. Sheep were pure Boonoke blood and the average numbers of sheep shorn over nineteen years to 1909 was 152,780. Around 7200 sheep could be shorn daily. The largest clip totalled 3326 baled of greasy and scoured wool and was sold in London. Bottom right corner - Chris McClelland 181/720 Shearing The Rams – Tuppal Station

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.Colour photograph of the Cutty Sark at Greenwich, England. cutty sark vessel and exhibition, greenwich, england, dumbartion, william denny, tea, immigration, trade, scott and linton, ship, vessel, boat, sailing ship

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.Colour photograph of the ship "Cutty Sark".cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade, sailing, ships

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, ondon, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.Colour photograph of a detail of the Cutty Sark sailing ship.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade