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George Washington Wilson's photographic works
9 The premises of George Washington Wilson, photographer, in St. Swithin Street. Honeybrae House
96 Honeybrae House. This house stood in the middle of a market garden near Morningfield Hospital about one-and-a-half miles west of Aberdeen City Centre. The lands were part of the old royal hunting forest of Stocket, given to the town of Aberdeen by Robert the Bruce. In the 17th century, it came into the ownership of the Skenes of Rubislaw and, in 1875, it was owned by Aberdeen Land Association. This two-storeyed house is most famous for its connection with the poet Lord Byron. In 1798, as a boy of about 10, he was taken there to spend a summer holiday while he was a pupil at Aberdeen Grammar School. At that time, it was probably a fairly new house, standing in its own grounds in a rural situation. He stayed there with his mother and their maid, Isabella Mitchell, before going to visit his old nurse, Agnes Gray. His room was on the first floor. By the 1830s, it was the home of a Captain John Boyd and later of market gardeners. Above the main door, there was a window whose thirteen small designed panes led it to be called 'the thirteen' window. By the 1920s, it had fallen into disrepair and the house was demolished in November 1928. The site was redeveloped for modern housing. Dwelling House on Queens Cross
377 Dwelling House on Queens Cross designed by Russell Mackenzie for the celebrated photographer George Washington Wilson. 1865. This was only the second house to appear on the circle. A parade of trams along Union Street
734 Correspondent Dr Mike Mitchell informs us that this is the celebration of the take over of the Aberdeen District Tramways by Aberdeen Corporation in 1898. The photo was probably taken by Councillor Alexander Wilkie, who is recorded as having gone across the road from the Town House to photograph the parade, and was a Woodside based professional photographer. Honeybrae House
816 Honeybrae House. This house stood in the middle of a market garden near Morningfield Hospital about one and a half miles west of Aberdeen City Centre. The lands were part of the old royal hunting forest of Stocket, given to the town of Aberdeen by Robert the Bruce. In the 17th century, it came into the ownership of the Skenes of Rubislaw, and in 1875, it was owned by Aberdeen Land Association. This two storeyed house is most famous for its connection with the poet Lord Byron. In 1798, as a boy of about 10, he was taken there to spend a summer holiday while he was a pupil at Aberdeen Grammar School. At that time, it was probably a fairly new house, standing in its own grounds in a rural situation. He stayed there with his mother and their maid Isabella Mitchell, before going to visit his old nurse, Agnes Gray. His room was on the first floor. By the 1830's, it was the home of a Captain John Boyd and later of market gardeners. Above the main door, there was a window whose thirteen small designed panes, led it to be called 'the thirteen' window. By the 1920's, it had fallen into disrepair and the house demolished in November 1928, and the site redeveloped for modern housing. Morison's Bridge
1098 This photograph of Morison's bridge, or the Shakkin' Briggie, is reproduced from the book 123 Views of "Royal Deeside" (1903). This volume was printed and published at the office of the Aberdeen Daily Journal and Evening Express, 18-22 Broad Street, Aberdeen.
The photographs that feature in the book were taken by Mr. William J. Johnston of Rockcliffe, Banchory.
William Jaffrey Johnston (1864-1914) was a professional photographer, considered an expert in outdoor photography, and was well known around Deeside. He was also a church organist, latterly with Banchory's South U.F. Church for 16 years.
Johnston died aged 48 on 13th January 1914. A death notice, brief obituary and tribute from the Rev. W. Cowan can be found in the local newspapers of the time.
An article about the release of the album of views can be found in the Aberdeen Daily Journal of 1st June 1903 on page 5. Copies of the book can be consulted in the Local Studies collection at Aberdeen Central Library.
The description that accompanies this image of the bridge reads as follows:
"Cults Bridge was erected in 1837, so that parishioners on the north side of the river might have better means of access to the Church of Banchory-Devenick than the then 'parish boat' afforded. The donor was Rev. Dr. Morison, the minister of the parish. But the growth of Cults has been such that the parish has been re-arranged, and the village has now its own churches." (page 7). George Washington Wilson's works
1261 In 1875, the photographer George Washington Wilson acquired a vacant site at St Swithin Street, near Queens Cross, when he was forced to leave his premises at Glenburnie which were required for redevelopment. By late 1876, this building had been constructed and his stock of materials had been transferred. On the evening of 14th June 1882, a fire broke out in the offices and nearly all his stock of prints and much of his machinery were lost. However, because his negatives were stored in part of the building which was not destroyed, his business could continue and rebuilding took place. This photograph shows the shell of the building after the fire. Because of his Royal connections he received a telegram of sympathy from Queen Victoria at Balmoral. George Washington Wilson's works
1265 The premises of George Washington Wilson, photographer, in St Swithin Street between Albyn Lane and Stanley Street. The workers are exposing and drying the glass plates. Friday Rag Fair
1291 A view, taken by Aberdeen's celebrated Victorian photographer George Washington Wilson, of the Friday Rag Fair in the Castlegate. Dates from before 1893 when the buildings at the far end of the Castlegate were demolished to make way for the present Salvation Army Citadel (opened 1896). Shepherd's Court gateway, Guestrow
1519 Shepherd's Court gateway, Guestrow. This arch was initially removed to Union Terrace Gardens circa 1931 and then re-positioned in front of Provost Skene's House around 1970.
(Many thanks for additional information provided by Gary Ether, Aberdeen)
The sign that can be partially seen on the extreme left is likely for Hay & Lyall, a company of carvers and gilders that were based at 19 Guestrow for some time.
The company was run by John Hay (Jnr.) and his brother in law, Robert Watson Lyall. The Hay family played a long and varied role in the Aberdeen art trade, including providing frames for many local artists.
John Hay's obituary from the Aberdeen Weekly Journal, 21st October 1896 p. 5, gives particular praise to his decorative carvings on the ceilings of the Town House and the Mitchell Hall in Marischal College.
He was also a one time partner of pioneering photographer George Washington Wilson, who took this photograph.
(Thanks to Ed Fowler for additional information) Laird studio portrait
1578 A studio portrait of an unknown young woman. The marker's mark in the bottom left identifies the photographer as from the studio of John Laird. It was active in the early 20th century and was located at 246 Union Street. Studio portrait of a lady with a dog
1603 A studio portrait of an unknown woman and an unknown dog by the Nottingham based photographer Eramus F. Bostock. Cullen House from the south-east.
1724 Cullen House is situated in the small town of Cullen on the Moray coast. It occupies a site where, at one time, stood a monastery and later a fortress. The present building dates from 1602 and is an enormously complicated structure which has had various extensions added over the centuries. It was the ancestral home of the Earls of Seafield but they have not resided there since 1975, when it was decided to put the house and its contents up for auction. During the period 1982-85, the house was converted into separate dwelling houses by architect Kit Martin but, in 1987, the building suffered a serious fire and has subsequently been restored. This view was taken from the south-east by local photographer Seivwright when the house was still occupied by the Earls of Seafield. Cotton Croft
1782 This photograph looks north on Clifton Road in Woodside, Aberdeen. The buildings on the left of the image were known as Cotton Croft. They are visible on the first Ordnance Survey maps of 1869 (Aberdeen Sheet LXXV.6). They were roughly located across the road from where Hilton Avenue now joins Clifton Road.
On 8th January 1914 Robert Stewart, resident of Cotton Croft, was convicted at Aberdeen Court of taking an "unclean salmon" from the River Don below Grandholm Mills. He was admonished and dismissed on account of his youth (Aberdeen Daily Journal, 09/01/1914, p.3).
In February 1916 the Public Health Committee of Aberdeen closed the cottage at Cotton Croft as unfit for habitation (Aberdeen Daily Journal, 17/02/1916 p.2).
The buildings are still present on the OS maps of 1955 (NJ9208SE) and this is likely the broad period from which this images dates. The map also shows the two large trees and the slightly lower housing on the right. The latter is the start of the more recently constructed Greenmore Gardens.
The Cotton Croft buildings were eventually demolished and replaced with modern housing. Outdoor Family Portrait
1968 An outdoor portrait of an Aberdeen couple with three daughters. The portrait was by professional photographer J. S. Gordon, who was based at 17 Chattan Place. An Inverurie Portrait
1973 A studio portrait of an couple and their three children taken by Inverurie photographer Robert Brown. Stoneywood Paper Mill Group Portrait
1987 A large group of people related to the Stoneywood Paper Mill pose outside. The man in the centre of the image can also be seen in images E17_08 and E17_10. 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 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. A School of Dolphins: Eric at Central Library
2191 "Eric" replaced "Carnegie" and remained in the Central Library on the dolphin trail throughout June until the end of August. Eric was a tribute to artist Eric Auld FRSA (1931 - 24 December 2013) who supported the Wild Dolphins project but sadly passed away before painting a dolphin. 'Eric" is a collage of portraits and landscapes applied reflecting his stylistic brush strokes featuring some of his most iconic images mixed with original sketches of former students. |