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Victoria Park
241 In 1871 Aberdeen Town Council decided to convert nearly 14 acres of Glennie's Parks, which had been used for cattle grazing, into a public recreation ground - Aberdeen's first public park.
Aberdeen's lack of a public park up to this point had become a contentious issue. For example, newspaper reports indicate that those opposed to the Municipality Extension Act of 1871 (which extended the boundary of the city, brought the functions of the Police Commissioners under the Council and incorporated the gasworks) repeatedly suggested that the expense involved in the new bill would be better used in the creation of a much wanted public park.
It is not unreasonable to suppose that this debate, and criticism of the Council, hastened the creation of Victoria Park. While work likely begun in 1871, it was not until March 1873 that the Improvements Committee of the Council recommended that the new park should be called "Victoria Park". At the same time, they also outlined a series of 13 rules and regulations for agreement by the full Council. There does not appear to have been an official opening for the new amenity.
Glennie's Park was not the only site considered for Aberdeen's first public park. Interest in such an undertaking was increasing at the same time as work was underway to divert the River Dee and improve the harbour. The new ground created in this latter project, encompassing the old, more northerly course of the river and the Inches, was a much proposed location for a park. Following the creation of Victoria Park this newly leveled ground was instead given over for buildings related to the expanding fishing industry.
A nurseryman called Robert Walker (1848-1930), originally from Perth, was chosen out of 450 candidates to be the city's first public park keeper and appointed to Victoria Park. He was likely largely responsible for the park's initial layout and appearance. His Press & Journal obituary (21/04/1930, p.6) suggests that prior to his appointment the site was "little better than a waste space".
Walker subsequently laid out Westburn Park, Stewart Park, Union Terrace Gardens and the Promenade. He also advocated and pioneered the planting of street trees. He served the Corporation for 46 years, retiring in 1919, and must be considered one of the unsung heroes of Aberdeen history.
This photograph, taken around 1900, shows one of the main paths leading to a large granite fountain, which was designed by J.B. Pirie. It is built of 14 different types of granite and was presented by the granite polishers and master builders of the city.
Since the park is almost in the city centre, it is an oasis of peace with its mature trees and, in spring, there are masses of flowering bulbs scattered through the grass. Portland Street at the junction with Wellington Road
1533 A photograph showing the house that was located at the junction of Portland Street and Wellington Road. It can be seen on the Ordnance Survey 1867 Aberdeen town plan, sheet LXXV.15.3.
This image looks north and gives a good view of the building that is thought to have once been the home of Provost George Auldjo of Portlethen (1756-1806). He followed his father, John Auldjo, in running the brick and tiles works in the Clayworks, located to the rear of this house.
The brick and tile works exploited the large amount of clay in the area. By the late 1860s the clay pits were ceasing to be worked. The Clayhills area was consequently leased out for yards and works of various kinds.
The building visible on the right is likely the preserved provision works which was active for only one or two years before moving to South Mount Street.
This house was demolished, and the area radically altered, with the road and railway improvement scheme that finished in 1904. This was carried out by the railway companies as part of the Joint Station extension scheme.
The improvements saw the construction of the lower part of South College Street, which would run through the Clayhills area.
For more details on the Clayhills brick and tile works and the roadworks see G. M. Fraser's article 'Affleck Street and the Clayhills' in The Press and Journal, 16th July 1926, page 4 and the article 'Ferryhill Street Improvements' in The Aberdeen Daily Journal, 24th October 1904, page 4. Aberdeen Theatres: Tuberculosis exhibition
3375 Throughout its history the Music Hall in Aberdeen has been used for all manner purposes beyond the performing arts and film screenings.
In March 1912 an exhibition on the infectious disease tuberculosis was held in the Music Hall on Union Street. This striking poster, with the headline "War on consumption", advertised the six-day event and the accompanying series of lectures.
The exhibition was organised by the Town Council of Aberdeen and the National Association for the Prevention of Consumption. The majority of the exhibition was brought to the city by the latter party with local additions from the Aberdeen Public Health Department, the pathological and public health laboratories of the University of Aberdeen and the Aberdeen Mothers' and Babies' Club.
The exhibition arrived in Aberdeen on the 16 March from Dundee where it had been visited by 30,000 people. It had also toured Glasgow, Edinburgh, Liverpool and Hull.
At the close of the "six day crusade against tuberculosis", Lord Provost Maitland described the exhibition and lecture series as "Magnificent" and local paper The Aberdeen Journal stated that the success of the event, "judged by popularity, is beyond all doubt." In total 39,960 attended over the six days, placing Aberdeen behind only Hull which was open for an extra day.
Approximately 20,000 health pamphlets were disseminated around the city, including 15,000 catalogues freely distributed by the Public Health Committee. A copy of this catalogue, which includes an instructive article from Aberdeen's Medical Officer of Health, Matthew Hay, is kept in the collection of Aberdeen Local Studies. Aberdeen Cinemas: Star Picture Palace
3409 A photograph of the Star Picture Palace at the junction of Park Street and South Constitution Street in the 1920s. The cinema was an undertaking of Bert Hedgley Gates in partnership with his wife Nellie and with financial backing from local businessmen. Bert Gates was among Aberdeen's most influential cinema proprietors. He would go on to be the founding managing director of Aberdeen Picture Palaces, a highly successful company that would play a key role in cinema exhibition in the city.
The ever useful Silver Screen in the Silver City (1988) by Michael Thomson details much of the history of the Star Picture Palace, known as The Star or Starrie, and the activities of Bert Gates. The cinema was converted from the former premises of the Aberdeen East End Mission. Its name was thought to come from a red-stained glass window in the shape of a star that was a legacy of its previous use. The Star's auditorium stood on the south side of South Constitution Street and its entrance, as shown here, was at 23 Park Street, underneath a block of tenements.
The cinema opened in March 1911 and showed a mixture of films and music. Bert and Nellie would stand behind the screen and add dialogue, sound effects and commentary to the silent films being shown. They also added topical references and allusions to well-known local figures. Both had backgrounds as stage artistes and their performances became a popular feature of the Star.
In 1913 the successful cinema was expanded, doubling its capacity, as Aberdeen Picture Palaces acquired the building and some houses to its rear. Thomson states that the remodelled Star was advertised as "Absolutely the Finest and Most Handsome Interior Out of Glasgow".
The Star had direct competition when the Casino cinema opened just around the corner on the north side of Wales Street on 7th February 1916. Thomson suggests that Gates responded to the Casino's popular and innovative cine-variety performances by programming his own varieties and mini revues. These included Miss Madge Belmont, "America's Handcuff Queen" and Birteno's Golden Grotto, "the most gorgeous electrical dance spectacle ever seen in Aberdeen - a display of serpentine and fire dancing by Belle Lumière, with marvellous kaleidoscopic colour effects".
The Star Picture Palace showed its first talkie, King of the Khyber Rifles, on 13th October 1930. In November 1932 the cinema suffered a fire caused by a dropped cigarette. The damage was relatively minor however and only put the Star out of action for a fortnight.
By the beginning of the second world war, the area around the Star was becoming depopulated as housing on Hanover Street and Albion Street was demolished to make way for the new Beach Boulevard. Bert Gates acquired control of the Casino in November 1939 with the idea of combining it with the Star to create one super-cinema that fronted onto the new thoroughfare.
Thomson explains that business was concentrated on the Casino and later that month the Star closed as a cinema for good. In 1939/40 it served as an indoor fun-fair and as the Boulevard Ballroom for the remainder of the war. The Star building was demolished, at the same time as the Casino, in 1971 to make way for a housing development.
Michael Thomson addresses the use of jam-jars for cinema admission in the first appendix to Silver Screen in the Silver City (1988). This includes an account of the Star Picture Palace from Ethel Kilgour who remembered going there as a child. Her description concludes as follows: "It was a great little cinema, jam-jar entry fee and all, and it was a form of escapism for so many children in a world so depressed between the wars".
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Aberdeen Cinemas: Picturedrome / Cinema House
3411 The Cinema House was located at the corner of Union Terrace, Skene Terrace and North Silver Street. The building was designed by Arthur H. L. Mackinnon and originally built in 1897-1898 as a clubhouse for the Aberdeen Union Club. Mackinnon (1870-1937) was a local architect who also designed the Aberdeen Fire Station on King Street and Mile End School.
The building's first recorded use for cinematographic purposes was a New Year Holiday Carnival organised by the pioneering Aberdeen cinematographer and exhibitor William Walker in December 1901. Alongside an early picture show the extravaganza featured the popular fiddler James Scott Skinner and a conjurer called Harry Marvello.
It was a Londoner by the name of Henry N. Philips who came to Aberdeen and in June 1910 converted this building into Aberdeen's second permanent cinema: the Picturedrome. The enterprise was a great success and Philip's formed a company called British Animated Pictures to run the cinema.
The 'Drome's first manager was Harry Fenton. He also appeared on the cinema's stage as a singer. This was a time when cinemas would often show a mixture of films and variety performances. The venue had a pianist called Hal Scott who would accompany performances and provided musical ambience.
The Picturedrome was noted for showing the film productions of Thomas Edison's Edison Studios and for consistently good stage turns.
In 1923 the Picturedrome/Union Club block was sold to the Loyal Order of Ancient Shepherds. They were one of the 19th century friendly societies in which people would band together prior to the development of more comprehensive welfare provision. The Shepherds continued to run the cinema for a period. A sign for the society can be seen in the top left of this image.
In May 1924 the cinema was taken over by James F. Donald. He was the patriarch of the Donald family that played a prominent role in the history of cinemas and theatres in Aberdeen. Restored and improved, the venue reopened on the 11th August of that year as the Cinema House. Donald initially held the premises on a 20-year lease, but would go on to buy the property outright.
This photograph, taken from in front of the Central Library, dates from around 1934 and shows the cinema advertising Father Brown Detective and The Lemon Drop Kid. Also visible next door at 2 Skene Terrace is a branch of the successful grocer and provision merchants, Wilburn Ltd.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Aberdeen Cinemas: Regent / Odeon
3417 The Regent was opened as the second, companion cinema of Jack Poole, after his transformation of the Palace on Bridge Place that had opened in 1931. The Justice Mills location was selected and the cinema was constructed on the eastern end of the historic Upper Mill. A cinema was able to utilise the sloping nature of the site in the way few other projects could.
Michael Thomson in Silver Screen in the Silver City (1988) states that work progressed on the new cinema at an excellent rate with virtually all material and labour coming from local sources. The sparkling Rubislaw granite frontage was the work of masons Edgar Gauld of Gilcomston Terrace. Wood for the joinery work came from Sweden and Finland.
The Regent was Aberdeen's first all-new cinema since the Torry Picture House a decade before. It was also the first cinema designed by Thomas Scott Sutherland, who had previously been a designer of, and dealer in, houses, notably the granite bungalows of the Broomhill estate.
The impressive new cinema opened on Saturday 27th February 1932, to an audience mostly of guests, with the main feature being a melodrama called Over the Hill. Reporting on the opening, the Evening Express wrote the following:
"Even though Aberdeen has many magnificent edifices, there is nothing quite so distinctive as the modern design of the front of the new Regent. Fine use has been made of straight lines and curves placed in sharp contrast, and the face that looks through the entrance to Justice Mill Lane on Holburn Street has an imposing dignity about it and yet an elusive gaiety in its composition. It is built of grey granite decorated with bands of red terracotta, and a polished black granite base."
The frontage was floodlit by night and outlined by Aberdeen's neon display. Above the gantry was the large, neon "Regent" sign which made the cinema a beacon at night. The Regent and the Palace were then advertised as "Aberdeen's Super Two".
The Regent's manager John K. Stafford Poole, son of Jack Poole, was aged only 21 when the Regent opened and his innovative promotion and displays became a signature of the cinema. The younger Poole regularly invited the Gordon Highlanders to screenings and in return they would afterwards march, pipes a-skirl, through the cinema and along Union Street back to their barracks.
The Regent proved hugely popular and was soon out-performing the Palace. The success of Poole's Regent prompted Aberdeen Picture Palaces to undertake the creation of their own super-cinema, the Capitol, which would open in 1933. The same year also saw the release of King Kong and the publicity stunt of a human dressed as an ape rampaging on the frontage of the Regent.
On 16th July 1936 it was announced that another southern company called County Cinemas had acquired all the Poole picture houses, those in Devonport, Derby and Plymouth, as well as the Palace and Regent in Aberdeen. In 1939 County Cinemas merged with the larger Odeon chain. In July 1940 the "Regent" sign came down to be replaced with one that read "Odeon". As part of this powerful national circuit, the cinema could rival any in Aberdeen for showing major features.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Union Works
4399 A mid-20th century photograph of the Union Works in central Aberdeen. This images looks south east across College Street from a high vantage point and has railway tracks, Poyernook and the hills of Torry in the background.
The factory likely dates from around 1862. A notice from the Aberdeen Herald newspaper of 17th May 1862, page 4, records Alexander Pirie & Sons moving from the Adelphi to their new premises of Union Works, Poyernook.
From the 1860s onwards, the works were owned and operated by Alexander Pirie & Sons, then Pirie, Appleton & Co. and finally Wiggins Teape (Stationery), Ltd.
At the time of this photograph, the works were likely operated by Pirie, Appleton & Co. This image may been sourced from a promotional brochure for the company. In addition to the Union Works, they also had factories at Chadwell Heath in East London and in Dublin, Johannesburg and Cape Town.
As with many significant local enterprises, the operation of Pirie, Appleton & Co. is described in mid-20th century Official Handbooks created for the Corporation of the City of Aberdeen. The volume from 1954 states that the company specialised in manufacturing commercial envelopes, including their successful "River Series."
The company had also recently introduced a quality note-paper to their range called "Mitre Club," which is described as a brand of social stationery. They additionally manufactured different types of account and manuscript books, including a system of loose leaf binding known as "Swing-o-Ring." Other products include "printers' cards, paper collars, commerial heading, filing folders, and record cards." (pages 166-167).
In this image, a large sign can be seen on the north side of the factory building that reads "The mark of good stationery" with an Aberdeen terrier. This black Scottie dog, closely associated with the city, was adopted as a trade-mark of the company in the mid-20th century.
Wiggins Teape and Co. had amalgamated with Alexander Pirie & Sons in 1922 (see Aberdeen Daily Journal, 30th March 1922, page 4). Alex. Pirie & Sons and Pirie, Appleton & Co. were subsidiary companies of Wiggins Teape.
The Union Works site closed down not long after 1969 when Wiggins Teape began construction of a replacement factory at Dyce (see Evening Express, 4th September 1969, page 7).
The site was sold and the works were demolished to make way for the multi-storey office block, St. Machar House. Built by Sir Robert Alpine & Sons for Neale House Properties (Aberdeen) Limited, to a design by architects Mackie, Ramsay & Taylor, construction was well under way by Autumn 1975 (Evening Express, 2nd August 1975, 'Business Bureau' page 6).
Below the southern end of St. Machar House, the rest of the old Union Works site is occupied by the College Street Car Park, built by Arup and Partners (Scotland), with consulting architects Baxter, Clark & Paul, and opened on 4th July 1991. Treasure 12: How to Stamp Out Typhoid booklet
182 This booklet is a reminder of a troubled period in city's past. In 1964 Aberdeen suffered one of the largest outbreaks of Typhoid in recent British history. Over 500 people were admitted to city hospitals for treatment of the infectious disease. The majority of patients were quarantined for at least four weeks before being discharged. The outbreak was traced back to a contaminated tin of corned beef which was imported from Argentina, then chopped up and sold in the William Low grocer on Union Street.
Thankfully the outbreak was successfully contained and there were no fatalities. The all clear was given on 17th June 1964, 28 days after the first notification. Public health announcements played a significant part in the city's approach to tackling the outbreak. Dr Ian A. G. MacQueen, Aberdeen's Medical Officer of Health, became a well-known figure with regular appearances in print and on television and radio on the importance of good hygiene.
The How to Stamp out Typhoid booklet was the initiative of Aberdeen businessman R. A. Williamson. He was director of a wholesale firm that supplied small grocers in the north east and received many enquiries from his clients on how best to combat the outbreak. Williamson asked Macqueen who was unable to provide guidelines so, in collaboration with the health and welfare department, they created this 11 page health information booklet. It had a print run of 45,000 copies, was supported by Aberdeen Chamber of Commerce and illustrated by the Evening Express. The illustrations feature the paper's character Wee Alickie, a die-hard supporter of Aberdeen Football Club.
In the introduction MacQueen wrote:
"The Stopping of the typhoid outbreak is principally a matter of good personal hygiene by everyone, and particularly of good personal hygiene by all food handlers.
"In an effort to assist every section of the community in our area a short question and answer brochure has been hurriedly compiled, together with a Hygiene Check List, which should prove most useful to all establishments.
"Members of the Aberdeen Chamber of Commerce, food wholesalers, bacteriologists, health education officers and journalists have collaborated to rush this through. This brochure is therefore backed by their combined knowledge and experience. Please read it, study it and try to follow the advice that it gives."
The outbreak adversely affected Aberdeen's reputation in the UK and around the world. This in turn had an economic impact for the city, particularly on tourism. After the all clear was given the Queen came to the city to demonstrate that Aberdeen was a safe place to visit and that life had returned to normal.
Treasure 48: Tuberculosis Exhibition Poster
219 In March 1912 an exhibition on the infectious disease tuberculosis was held in the Music Hall on Union Street. This striking poster, with the headline 'War on consumption', advertised the six day event and the accompanying series of lectures.
The exhibition was organised by the Town Council of Aberdeen and the National Association for the Prevention of Consumption. The majority of the exhibition was brought to the city by the latter party with local additions from the Aberdeen Public Health Department, the pathological and public health laboratories of the University of Aberdeen and the Aberdeen Mothers' and Babies' Club.
The exhibition arrived in Aberdeen on the 16 March from Dundee where it had been visited by 30,000 people. It had also toured Glasgow, Edinburgh, Liverpool and Hull.
The exhibits were arranged in the Music Hall's Ball Room and Square Room by Mr Haughton, the organising secretary, with assistance by officials of the Public Health Department. The exhibition included two full sized model rooms. Living conditions such as good ventilation, fresh air and sunlight were considered vital in combating the disease. A "bad room" was modelled on a real property in the East End of London.
Tuberculosis was a grave health concern at the time. The poster states that "During the past Ten Years in Aberdeen 1997 persons died from Consumption, and 1039 from other forms of Tuberculosis." In a preview of the exhibition from 19 March, the Aberdeen Journal wrote "The object of the exhibition is to draw attention to the enormous wastage of life and work caused by tuberculosis in its various forms; to show how the disease is caused and spread; and to illustrate the methods of cure and the precautions for its prevention."
The importance of the exhibition was further stressed in a later article which stated: "There is no single disease that causes among civilian communities so many deaths and manifests itself in such various forms, and nothing can be more desirable than to bring home to the masses of people how the deadly scourge can best be prevented or checked. In Aberdeen alone the number of deaths yearly from all forms of tuberculosis is about 270, and of these about two-thirds, or 180, are due to pulmonary tuberculosis. The disease usually lasts long, and the number of definite diseases attributable to it at any one time in the city is probably not less than four or even five times as large as the deaths."
The exhibition was opened by the Principal of the University of Aberdeen, George Adam Smith, and was accompanied by a series of daily public lectures by experts on the disease. Each day's lecture was followed by cinematograph presentations illustrating the precautions taken in connection to tuberculosis. The lectures were held next-door to the Music Hall in the Aberdeen Y.M.C.A. Hall.
At the close of the "six day crusade against tuberculosis", Lord Provost Maitland described the exhibition and lecture series as "Magnificent" and the Journal stated that the success of the event, "judged by popularity, is beyond all doubt." In total 39,960 attended over the six days, placing Aberdeen behind only Hull which was open for an extra day. Approximately 20,000 health pamphlets were disseminated around the city, including 15,000 catalogues freely distributed by the Public Health Committee. A copy of this catalogue, which includes an instructive article from Hay, is kept in the collection of Aberdeen Local Studies. Treasure 116: Aberdeen Dance Festival Week 16-20 August 1948 Souvenir Brochure
339 This treasure is a souvenir brochure and programme for the first Aberdeen Dance Festival Week, held from 16 - 20 August 1948, which aimed "to make Aberdeen Scotland's mecca for good dancing". It was staged by the directors of the Palais de Danse dance hall and organised by the managing director, Mr. Ernest A. Bromberg. This delightful brochure describes competitions such as the Novice 3-Dance, Pre-amateur 4-Dance and Team Dancing Championship, gives details of the panel of adjudicators, and features adverts for local dancing schools.
It also includes a personal message from Mr Bromberg who stated "Since the inception of the Palais de Dance it has been my consistent desire to do everything possible to encourage a greater incentive to improve Ballroom Dancing and to provide facilities to make dancing a popular and healthy form of recreation, exercise, and entertainment". The Palais de Dance in Diamond Street was believed to be the oldest principal ballroom in Aberdeen, dating back to the mid-1920s.
In 1965 it underwent an extensive interior reconstruction at a cost of £75,000 with a new lounge bar, rounding of the dance floor from its previous square shape, and a circular balcony to watch the dancers. It became Raffles night club in 1976.
If you have memories of dancing in Aberdeen or any booklets/brochures on the subject, we would be delighted to hear from you. Please contact our Local Studies department at the Central Library.
Find out more about dancing in Aberdeen and see some fantastic images in the Treasures from our Collections interactive exhibition on the touchscreen. Inhabitants' Petition
507 This broadside, entitled 'Defence of the Links. Inhabitants' Peition' was issue by J. Urquhart, of the Lemon Tree on 23rd June 1856. It refers to a dispute between two rival railway company directors, James Adam and John Duncan.
Duncan desired to create an Aberdeen to Peterhead and Fraserburgh railway line, whilst Adam wanted a Formartine and Buchan line. The broadside dates to 1856, a year of fierce debates over the future of the railways. Permission was only granted for the construction of a line in 1858, and was awarded to Adam.
Duncan's line was particularly controversial for it desired to be built into the area known as the Links. Duncan had tried to begin construction before the inhabitants of the Links had discussed the issue. This caused uproar amongst the Links' inhabitants, particularly as Duncan was required to follow parliament's say on the matter before beginning construction himself. This broadside details the matter. Duncan is elsewhere denounced, here, for providing false information about the return value of his project for investors. This broadside defends the way in which attendees of a committee meeting were listed in a petition. This had been criticised by the Herald, as can be seen in this broadside. Links Encroachment
509 This broadside, entitled 'Links Encroachment' and a reprint of the 21st June 1856 edition of the Aberdeen Herald, refers to a dispute between two rival railway company directors, James Adam and John Duncan. Duncan desired to create an Aberdeen to Peterhead and Fraserburgh railway line, whilst Adam wanted a Formartine and Buchan line. The broadside dates to 1856, a year of fierce debates over the future of the railways. Permission was only granted for the construction of a line in 1858, and was awarded to Adam.
Duncan's line was particularly controversial for it desired to be built into the area known as the Links. Duncan had tried to begin construction before the inhabitants of the Links had discussed the issue. This caused uproar amongst the Links' inhabitants, particularly as Duncan was required to follow parliament's say on the matter before beginning construction himself. This broadside details the matter. Duncan is elsewhere denounced, here, for providing false information about the return value of his project for investors. This broadside lists attendees of a committee in support of Duncan's construction plans. It criticises Duncan's party for enlarging the real number of attendees at the meeting. |