Quick Search
|
Search Results
You searched for: "Aberdeen photographers" Online Exhibitions contains these items
17 items
items as
Alexander Ledingham Portrait of Fanny
2139 This studio portrait is of a young woman called Fanny. The stamp on the lower right of the image indicates it was taken by Ledingham of Rosemount. The easel and brush design of the stamp suggests Ledingham's artistic aspirations as a photographer.
Alexander Ledingham ran a photographic studio at 101a Rosemount Place from 1911 until well into the 1950s. He took over these premises from John S. Greenacre who opened his studio in June 1899. Prior to this Greenacre had worked with G. W. Wilson & Co.
Ledingham's father, another Alexander, run a newsagent and took a prominent part in public life. He ran his shop from 27 Bank Street, Ferryhill for 10 years before moving in 1890 to premises at 41 Victoria Road, Torry. He eventually retired from business in 1904. He played a large role in the incorporation of Torry into the city of Aberdeen and was involved in many improvements to the area.
Ledingham Senior died in August 1926 and his obituary is available to view on the Silver City Vault. It gives further details of his involvement in politics, the church and his work as an author - many of his titles are held by Aberdeen Local Studies. Alexander Ledingham Portrait
2140 This portrait of a woman is also by Alexander Ledingham of Rosemount. The photographer's stamp is present in the bottom right corner. The woman is standing by a chair that can be seen in other Ledingham portraits so this was obviously a recurrent prop. The painted backdrop in this picture suggests the setting of a large estate house.
The subject of the photograph wears a rather serious expression which was the convention in 19th and early 20th century photography. This was a continuation of the tradition of painted portraiture and suggested the stature and respectability of the subject. The great American writer Mark Twain wrote, "A photograph is a most important document, and there is nothing more damning to go down to posterity than a silly, foolish smile caught and fixed forever." Stillness was also required due to the exposure times of early photography. John F. Lessels Group Portrait
2141 This group portrait of three women was taken by John Fraser Lessels. He styled himself "The Photo King" and is so credited on the back of this postcard photograph. The postcard is addressed to "Miss Jeannie Robb, 124 Union Street, Aberdeen."
Lessels had a bold approach to promotion. An advert in the Aberdeen Daily Journal from 1908 reads "SALVATION for 6d, Cabinet Size. Get saved now. Lessels, Photo King, 64 St Nicholas Street."
Lessels was born in Aberdeen in 1878 and married a cousin called Faith Duncan in 1907. The Photo King had studios throughout Aberdeen, his main office being at 15 Crown Street, and a number of premises in Edinburgh and Angus. Faith Duncan worked as a photographer's assistant and Lessels' also had a sister who was a photographer but who sadly died aged 25.
As a life-long pacifist he and his family moved to Dublin to avoid conscription in World War I and worked with the Lafayette photographic studio. Lessels later moved to Bangor in Northern Ireland where he is understood to have had a difficult time and appears to have suffered a mental breakdown and incarceration. One of his sons, Maurice Lessels, ran a photographic studio in Lisburn, County Antrim for many years. (Many thanks to Ian McDonald for his research into this Aberdeen photographer). G. W. Morgan Portrait
2145 This portrait of a smartly dressed young man was taken by G. W. Morgan (1855-1909). The photo features the ornate furniture and painted background that was the convention of the time. On the rear of the postcard photograph is printed "For further copies apply Elite Studios, 5 Market St, Aberdeen." This dates the image as between 1897 and 1907 when the business was trading under this name at the Market Street premises. Morgan and his brother William also operated photographic studios at 3 Bridge Place, 393 Union Street, and two in Aboyne and Ballater.
Morgan was the son of a blacksmith from the village of Clatt, called John Morgan. Born in 1855, George trained as a druggist in Aberdeen before leaving for California where he worked as a photographer. He returned to the city in 1880 and became the principal photographic assistant to Mr Dinnie of Bridge Place. The premises in Market Street were his first studio after going into business with his brother. He lived at Westfield Terrace.
In the coming years Morgan established a reputation in the city as an excellent photographer and businessman. He was described in his Aberdeen Daily Journal obituary as "A thorough artist in every sense of the word. Mr Morgan was remarkably successful in developing the very extensive business, and it was largely owning to his efforts that the firm attained its well deserved renown for the excellence of its portraiture and scenic work, all of which reach a high degree of artistic merit."
In 1909, Morgan died aged 54 in quite unusual circumstances. On the night of 25th June he was travelling with Mr J. B. Davidson, a solicitor and business associate, to London on the Caledonian sleeper train. All was well up to Stirling when the two men went to sleep. Davidson was awoken in the night by the wind blowing into their compartment and with Morgan nowhere to be seen. After a thorough search of the train and much telegraphic inquiries it was determined that Morgan had fallen from the train and died just south of Carstairs. The exact conditions of his death are unknown but it was believed that he woke in the night and groggy with sleep used the wrong door.
In addition to photography Morgan was a very accomplished violinist and acted as choirmaster for Ferryhill Parish Church for many years. He and his wife had 12 children. Royal Medical Corps Portrait I
2146 This portrait of a soldier in The Royal Army Medical Corps dates from around World War I. The badge of the corps can be seen on the soldier's cap.
Unfortunately, there are no identifying marks on the front or back of the postcard so it is highly difficult to establish the photographer who took the picture or discover the subject's name.
Only the head and shoulders of the subject feature, in contrast to the more common full length studio portraits of the time. The plain nature of the image, the lack of props and backdrop, accentuates the beatific quality of the sitter and the poignancy of his wartime fate. Royal Medical Corps Portrait II
2147 This is another World War I era portrait of a soldier. The badge on his cap and the two-bar chevron on his arm indicate that he was a corporal in The Royal Army Medical Corps. The swagger stick held in his left hand is a symbol of his authority as an officer. Royal Navy Portrait
2148 This is a studio portrait of two unknown friends. The uniforms and cap badges indicate that the two men are in the Royal Navy. Both are holding walking sticks and one holds a cigarette. The posture and countenance of the subjects is casual and suggests the amiability of friends. Unfortunately there are no marking on this postcard photograph to identify the photographer or subjects. |