Meanwhile back in Fife, the sport of golf continued to grow and the courses around Leven and Lundin Links were particularly popular. So in 1895 David made plans to return home and had plans drawn up for a new dwelling, with connected shop premises (shown above). The sasine register (land register) entry dated 2 March 1896 below describes the feu which owner of the Lundin estate John Gilmour granted to David Patrick, then of Wimbledon Common. 
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The plot was on what would become Golf Road - described then as "street to the Links by the under Railway Bridge". The railway bridge can clearly be seen in the 1899 photograph below. The year 1896, when David arrived in Lundin Links, is significant because it was the same year as the opening of the new clubhouse at Lundin Golf Club and the opening of the outlet of Alex Patrick's business at Lundin Links.

​Such was the demand for quality locally made golf clubs, that David set up his own club making business, about 100 metres away from his brother's shop and began making clubs in his own name. The photograph below shows two red arrows - the one on the left points to David's premises and the one on the right to Alex's shop (obscured by the club house). 

David and Rebecca named their new home Linksview, and soon other new villas were built in this corner of the village. Note in the image above that a sign stating D.M. Patrick is just visible above shop window and that there is also wording advertising the business under the eave of the gable end. In the 1905 book Rambles in Scoonie and Wemyss by Andrew Storrar Cunningham, the author notes that like his older brother Alex, David Patrick "also has a world-wide reputation" for his clubs. 
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The pair of adverts below both appeared in the 1907 book by A.S. Cunningham, Upper Largo, Lower Largo, Lundin Links and Newburn.

David Patrick remained at Linksview for the remainder of his long life. The 1921 census finds him aged 63 years, still making golf clubs there. In 1923 he laid out the new pitch and putt course at Lundin Golf Club along with Robert Paxton. David's wife Rebecca died in 1933. He remarried in 1935 to Mary Ann McLeod at the Commercial Hotel in Upper Largo. Mary died in 1944 and on 4 August 1948, David passed away at the age of 90 years. His headstone, pictured below, is at Scoonie Cemetery.

The previous post covered the life of John Patrick who was a pioneering maker of golf clubs in Leven from 1847 until his untimely death in 1866. However, John had been training his sons to follow in his footsteps and eldest son Alexander was able to take on the family business at the age of 21. Alexander's younger brothers John, Nicol and David would all follow him into the trade. The photograph above shows the outlet at Lundin Golf Club which was established in the 1890s.

​Initially based at Branch Street by Leven's Shorehead, the club making business moved in the late 1860s to more convenient premises by Leven Links. Matthew Elder, ropemaker, had converted the old washing-house of the bleaching green on the banks of the Scoonie Burn. The Leven and Innerleven Golf Clubs took the upper floors as their clubhouse and Alexander took the ground floor as a shop and workshop. As the business thrived, the premises shown below was built at the corner of Links Road and Balfour Street, around 1892, where a sign above the entrance proudly stated "Established 1847". 
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Alexander married Jemina Kinnell in 1870 in Elie and the following year the 1871 census records the pair at Manse Place in Leven, where Alex is described as "Golf Club and Ball Maker, employing 2 apprentices". A decade later, in 1881 they had moved to a home closer to Leven Golf Links and were at Sweetbank Cottages on Links Road, with Alex's occupation listed as "Master Golf Club Maker employing 1 man". 

Later in the 1880s, Alex and Jemima moved to Surrey. Alex had been appointed professional and green keeper at Royal Wimbledon Golf Club. Notably, the position came with a salary of 30s per week and a free shop, enabling Alex to open a branch of his club and ball making business in the south of England. The notice above from the 2 October 1886 Fifeshire Advertiser tells of a "complimentary supper" held for Alex prior to his leaving Leven.

He would remain at Wimbledon for five years, living on the edge of Wimbledon Common. From his shop there, Patrick clubs were sent all over the world. While down south he also took on a few other projects - for example he laid out the course at Epsom Golf Club. When on a leave of absence in the summer of 1887 for another project, Alex insisted that his brother David Patrick took his place as professional temporarily.  Meanwhile the business back in Leven business continued and in 1891 Alex decided return to Leven. His brother David took his position at Wimbledon permanently.
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The 1890s were a booming era for golf locally and in 1896 when Lundin Golf Club opened a new club house, Alex Patrick established a branch of his club making business adjacent to it. The advert below appeared in the 23 September 1897 Leven Advertiser, when the business was already half a century old, illustrating the range of clubs and balls being produced at that time. By the time of the ​1901 census, Alex and Jemima were in a newly built home on Linksfield Street in Leven which they named Wimbledon Villa.  
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Of course, over time the demand for golf clubs had grown and rival club makers had joined the scene. Different techniques in club making had evolved and naturally there was debate around the merits of different styles of equipment. The 1 June 1899 Leven Advertiser above, describes some of the local club makers of the time. The 16 January 1899 Dundee Advertiser, below, quoted Alexander Patrick from a piece in the publication 'Golfing' on the types of clubs he makes, highlighting his pride in his "wooden putters".

Alexander was something of an expert on the history of golf clubs and had a collection of old clubs. A 12 June 1909 St Andrews Citizen article explained that the two clubs that Alex had displayed in his shop window at the time were hazel and gutta percha clubs that came from South Africa. The piece also stated that "Mr Patrick has in his shop several very ancient iron headed clubs, one of these a driving iron being over 100 years old". The 1906 advert below suggests that by this time the making of golf balls had ceased and balls were now supplied by a large manufacturer.

In July 1909 Alexander retired from the business. The 21 July Leven Advertiser noted that he was succeeded by David James Sellars who was a native of Surrey, and had been engaged in the sports supplies business around London. He came to Fife around the turn of the century to act as foreman for Alex Patrick. Sellars continued the well-established Patrick name for many more years, until his own death in 1936, when the plant, machinery, tools and stock of the Linkside Works were sold off.

Alex lived out his retirement at Wimbledon Villa on Linksfield Street. Singing was his main leisure pursuit and he was a leading member of Leven Choral Union (later Leven Amateur Musical Association). His wife Jemima died in 1914 and thereafter his sisters (who had played administrative roles in the family business) lived with him. 

Alexander died in 1932 aged 86 at Wimbledon Villa and is buried at Scoonie Cemetery with his parents and wife. His life was a remarkable story of a passion for golf, dedication to the family business and to his younger siblings, master craftmanship, innovation and invention. The name of Alex Patrick lives on through the much sought after his antique golf clubs of varying ages, many of which bear his distinctive horseshoe cleekmark and the appropriate words "well made".

Last October a blog post covered the creative enterprise Genesis Creations Limited which was once based in Mill Wynd, Lundin Links - click here to read.

Since the publication of that blog, a copy of a colour product brochure and a documentary-style video have been kindly shared by Tony Harmsworth, who was Managing Director of the company. Extracts from the colour brochure can be seen above and below and the brochure can be accessed in PDF format in full via the links below:

Genesis Brochure Front

Genesis Brochure Inside

Genesis moved into the Mill Wynd Studio in May 1988 and the company grew over the months that followed. Tony carefully put together a video in June 1990 detailing the processes involved in the creation of the Genesis products. The video includes footage of the Lundin Links workshop - both inside and outside - as well as of the office facilities next door at Marlynn Cottage and the production facility at Levenmouth Business Centre in Leven. The film explains that most of the research and development work was undertaken at the studio in Lundin Links, which was originally built as a silversmith workshop for Norman Grant in 1973. The 1990 film about Genesis Creations is available online in two parts - you can view part one here and part two here. 

As the film describes, an original creation typically starts as a piece of wax, which is intricately sculpted using a range of fine tools. This is the 'master' piece from which a silicone mould can then be made. The silicone mould is subsequently used to form the many replicas of each master piece. Each cast copy piece is then treated, ready to be painted by a member of the team of artists. The finished article is carefully packaged before being sent out to one of the many outlets across the UK and overseas. The film concludes with footage from a trade fair in Birmingham, where Genesis hosted a stand.

Within the film, a display of the master pieces can be seen. Carol Lynn Penny the Creative Director, pictured below, is seen at work. Alan Harrower the main castle sculptor talks about the tools he used to create an intricate crystal castle. The process of the creation of moulds is explained and much more. The film is a fascinating insight to the creativity that went on behind the windows of the Mill Wynd Studio and at the workshop in Leven, and provides real sense of the scale of operations and wide range of designs produced.

The film also explains how the Genesis Creations story came to an end during a time of recession. It was a terribly sad end to a story of enterprise and creativity and its loss still resonates today. Lundin Links was fortunate to have such an innovative endeavour based in the village. If you worked at Genesis Creations, visited the workshop or own one of their pieces - please share your memories by leaving a comment.
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The building in the postcard image above was known as Swan's Victoria Boarding Residence a century ago. Later divided into the flats of Victoria Court, this building on Victoria Road in Lundin Links was first constructed around 1907, when it was named Victoria House. At that time there was an explosion in Boarding House style accommodation in the village, to meet the demand for seaside and golfing breaks.

Building contractor Walter Horne was the original owner of the building. He sold the premises to Edinburgh baker and confectioner Johnston Wright Swan in the early 1920s. The 2 April 1924 Scotsman advert below describes Swan's Victoria Boarding Residence as "now open". As the advert states, the location of the residence was ideal - close to the station, golf course, beach and other sporting facilities - with the bonus of steam trains passing by the gardens.
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Johnston Swan (who may well be the taller man in the image above) came from a family of bakers and was a prize-winning baker himself. During his tenure, an extension was built to accommodate a cafe and bakehouse. This can be seen below and in the coloured postcard further below. 
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Mr Swan's talents were not limited to catering and baking however. He was also a musician. The piece below from 11 February 1928 Fife News notes his entertaining a company from St David's Church with his Swanee jazz-o-phone one-man band - which comprised no less than nine different instruments!
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Within the harbour at Lower Largo, historic mooring posts can be seen alongside their modern counterparts. In the image above a gnarly old post can be seen in the left foreground that could be a couple of centuries old. The posts are marked on maps dating back to the mid-1850s and are shown in detail on the 1912 map below.

The map detail includes the words 'Post' and 'Posts' at the harbour mouth. These features mark the Lundie rocks, guiding vessels away from this hazard. There are also several annotations of 'M.P.s' (an abbreviation of mooring posts) to indicate places to tie up vessels - both within the harbour and on the pier itself. On the map the series of mooring posts continues under both the footbridge and the viaduct up to the mill. Some of these posts may be contemporary to the significant work was done on the pier in 1819.

The image above, cropped from a postcard view, clearly shows a series of four posts marking the Lundie Rocks just beyond them. The more modern sketch of Largo Harbour below is also annotated with the poles at the Lundies. 

In the circa 1900 scene above, from a George Washington Wilson photograph, a series of wooden mooring bollards can be clearly seen on the pier. Ships mooring ropes were secured to these bollards, which are positioned some distance from the face of the pier as they had to be founded in a secure part of the structure. The strains imposed on mooring bollards can be severe, particularly when the moored ship is subjected to very strong winds. These stresses are even greater in the case of sailing ships with a considerable windage. The image below shows a topsail schooner with a long mooring line attached to a bollard, likely calling at the harbour in connection with potato trading activity.

In the photograph above of David Ballingall's Forget-Me-Not (a 48.5 feet fishing boat with the registration KY 2011) entering the harbour, wooden fenders can be seen lining the face of the pier. These acted as fenders to protect the stonework and vessel’s hulls from any damage. The highest fending on the pier are what were known as “branders”. These were put in place to protect the paddle steamers from damage by the uneven stonework of the Pier. The branders were of such a height that the paddles were still protected when lying alongside at high water, spring tides.

Largo harbour's distinctive posts even appear in artworks such as the painting above by David Martin and many of the local pieces created by George Leslie Hunter, including the sketch below. No doubt these characterful features continue to inspire artists to this day.

The sender of this 1903 postcard hoped that Miss Allan would like the view of Drummochy. On the reverse, the writer continued... 

Got home all right and found Father and Mother well. Raining cats and dogs. Hope it will fair before morning.

There's certainly lots to like about the view and many details worth highlighting, many of which are long gone. The fishing nets out drying on tall posts, next to the Net House, are marked (1). Feature (2) is the lost buildings of Cellar Brae of which only traces remain today. Detail (3) is a short section of stone wall situated at the turn in Drummochy Road (shown in more detail further below), which presumably acted to control to flow of road users at a blind corner. 

At point (4) you can see the tracks in the sand where carts crossed the burn, alongside a couple of mooring posts. (5) is a gate - a partial barrier to slow movement towards the footbridge at (6). Detail (7) is a very productive looking garden full of a growing crop, while (8) are washing lines and posts. Note that these rear gardens, sitting at a much lower level than Woodlands Road (9) above, would have been cut short when the viaduct (10) was constructed in the 1850s. In the circa 1900 image the viaduct was less than 50 years old. Now it has been out of use for longer than that.
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It's incredible to think that these streets were once completely devoid of motor vehicles. How much quieter and slower the pace of life must have been. It's also interesting to see how patches of land once put to practical and productive use growing food or drying laundry are now used for more leisurely pursuits, such as storage of pleasure boats or benches and summer houses to sit out in. The image below shows a mid-point in that transition, where the nets are still being dried but use of outdoor spaces for relaxation has increased. The wooden footbridge has been replaced by the road bridge and the days of the railway are numbered.

The photograph above, which was also published as a postcard, features a striking looking motor car waiting at the entrance of Largo House. The image also features a couple sitting on a bench and another person on the entrance stairs. However, it is the car which particularly catches the eye and back on 18 September 1974, the East Fife Mail posed the question - what was the type and date of the vintage vehicle?

​Benjamin Cox, along with his wife and four children, then ranging in age from 3 to 13, took up residence in Largo House in the summer of 1904 (see 24 June East of Fife Record piece below). The tweed and woollen manufacturer from Selkirk, had retired to St Andrews prior to taking up the tenancy of Largo House, where the family remained until 1911. Benjamin was Captain of Lundin Golf Club 1909-11. The family moved to Gilston House in 1911 before returning to Largo House in 1919, where Benjamin died in 1924. The chauffeur for the Cox family was George Bell.

The previous post looked at the building above on Mill Wynd in Lundin Links, which was built in 1973 as Scotland's first custom-designed silversmith studio. When it was vacated in the late 1980s, a new creative enterprise moved in -  Genesis Creations Limited - makers of hand painted figurines. The origins of that enterprise dated back to 1986, when St Andrews-born sculptress Carol Lynn Penny (pictured below) and her partner Neil Campbell, began to make Nesslets (dragons hatching from eggs). They initially sold these through a couple of outlets, including the Loch Ness Centre in Drumnadrochit. Successful sales there led to the establishment of Genesis Creations in August 1987.

Support from North East Fife Enterprise Trust and others enabled Genesis to purchase the studio in Lundin Links, which they moved into in May 1988. Over the next few months, the company grew from 3 to 15 employees. The article above, from the 19 October 1988 Scotsman, charted the story of the company's growth. At the time the workshop's capacity was several thousand pieces a month, with a range of 23 different models. As well as selling through a growing number of stockists within the UK, Genesis sent products to Germany, Japan, Canada, the USA, Norway, Spain, Austria and Switzerland.

​The range of products comprised fantasy creatures, from the original Nesslets (hatching dragons), to Draglets (fully grown dragons) and Mins (tiny animals in shells), as well as a heritage collection, which included models of real life castles. The Nesslets became the best known range and were produced in red and green. Carol Lynn Penny acted as Creative Director for the expanding business. The Dundee Courier of 9 November 1988 also covered the growth of Genesis Creations. The photograph below of Carol and Neil inside the Lundin Links studio appeared, along with the news that orders totalling over £80,000 had resulted from a trip to the recent Highland Trade Fair in Aviemore. 

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By 1990, with large numbers of people calling into the studio, and a lack of display space to show the wide range of products, the Mill Wynd premises underwent extensive alterations. A new Dragon Showroom (seen above) opened to the public and trade. Collectors from around the world would write or phone asking to visit the studio - keen to watch the creation of a piece that they already owned or were considering buying. The showroom also offered retailers looking to stock products an opportunity to view the full range of designs (which at the time numbered around 100 options). The office also held a list of approximately 1000 stockists in the UK and the showroom was open seven days a week between 09:30 and 17:00.

Unfortunately, the early 1990s was a period of recession and the business hit financial problems. Genesis Creations folded in 1991 but some of its products were taken over by Clarecraft, another company which produced fantasy figurines. Some dragons continued to be made by Clarecraft until its closure in 2005. Do you have a Genesis creation? Did you visit the workshop? Comments welcome.

Did you know that the first custom-designed silversmith studio in Scotland was built in Lundin Links at Mill Wynd back in 1973? This blog will tell the story of how that came about and the man behind it. Alistair Norman Grant, pictured below, was born on 18 November 1943 in Forres, Moray. After school, he attended Gray's School of Art in Aberdeen, where he studied under silversmithing lecturer David Hodge, who Norman later credited with fostering his "interest in nature in its many forms as a source of designs". Leaving in 1966 with a D.A. in Silversmithing, initially Norman took a teacher training course in Dundee, followed by a teaching job at Auchmuty High School in Glenrothes. Continuing to make jewellery in his spare time, in 1967 he started his own business, from his garden shed. 

Largo Lea was renamed Silverwells and from the house Norman ran a summer school programme from the workshop each July, from 1969 for seven years, which attracted students from around the world. The advert above appeared in the Scotsman newspaper of 3 May 1969 and the one below in the same newspaper on 13 February 1973. The latter notes that Norman appeared on a BBC1 programme called Scope that same week (a monthly BBC Scotland arts TV series that began in 1970). 
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The piece above appeared in the 16 October 1970 Dundee Courier. In this article Norman jokes about being destined to be a silversmith because his initials were AG - silver's symbol in the periodic table. He also talks about his efforts to establish his fledgling company, having to work seven days a week and having more requests than he could cope with. In the early 1970s interest in contemporary jewellery was flourishing and Norman's work in great demand. He took on two apprentices - Don Beaton and Robin Mackie. Soon he was in need of larger premises for the team to work in.
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The above item from the 18 July 1973 East Fife Mail an early silver and enamel design made in the Mill Wynd workshop, which was taken down to London to go on display at the Design Centre. The new workshop and growing business went from strength to strength - employing 15 people by 1975. The following year, 1976, saw the founding of 'Dust Jewellery' - a joint venture between Norman Grant and John Flegg. In 1977, the firm designed and made the silver match box from which came the match that Queen Elizabeth II lit the first of a nationwide chain of 102 beacons to mark her Silver Jubilee.
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'Dust' combined the traditional skills of the silversmith with new technology and a new range of titanium pieces was developed. The firm's workspace expanded into the buildings across the street and elsewhere in the village. As the above insert states "the colours on the titanium are achieved by causing an electric current to pass through the metal creating an illusion as changeable as a peacock's feather or as subtle as the iridescence from oil on water".​

The last two posts have looked at the two ministers of the United Free Church in Upper Largo. Between the two of them, Rev. Robert Lundin Brown and Rev. William Bruce led the church across 74 years and were the only two clergymen to head up the church during its existence. The congregation was formed in 1843 as a result of the Disruption. A proportion of members of Largo Kirk struck out on their own, and finding ground to the west end of the main street, initially built a "hall of wood". The early church structure was soon replaced with something more substantial - a building which had three roofs, like the historical Tanfield Hall (the site in Edinburgh where the very first assembly of the Free Church of Scotland took place on 18 May 1843). The piece below from 21 August 1862 Fifeshire Journal reports upon the reopening of the church following alterations and repairs by Reverend Robert Candlish (a leading light in the Free Church - more of whom to follow in another post).
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The year 1879 brought a significant remodelling of the church. The building closed in May and reopened for worship in late October. The 31 October 1879 Daily Review below, provided detail of these works. The gables were raised to allow for a higher and better supported slated roof. A large window was added to the frontage (as seen in the photograph at the top of this post) and some sources suggest that the church's bell had the distinction of being the biggest in the Parish. The interior was also given an overhaul with several modern conveniences added. Much of the work was undertaken by local joiner Peter Broomfield. This time around the official re-opening was conducted by Reverend James Chalmers Burns, Moderator of the General Assembly at the time. Some two decades later, in 1899, a new organ was installed, with a liberal contribution from William Robinson Ketchen, manager of the National Bank, who was a member of the congregation.
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The death of Reverend William Bruce marked the beginning of a long vacancy, during which congregation were brought under the oversight of Reverend James Ewing of Lathones. Ewing left Lathones for Glasgow in 1923, where he worked for ten years before a further move to Dalkeith. [Ewing died in 1954 following a collapse in his vestry after a service (see 18 October 1954 Edinburgh Evening News piece below).]

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The funds and property of the congregation were left to the General Trustees of the United Free Church. A couple of months later, the 28 June 1924 Fifeshire Advertiser (above) noted that it was problematic to find an alternative use for the building. In fact the building lay empty for many years before an agreement was reached in September 1933 to sell it to David Ramage and the place was converted into a garage. The frontage was remodelled, so that the building had a less church-like appearance. It was only the rear aspect of the building which gave away its original use (and that remains the case to this day).