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Bridge Street, Aberdeen. c.1890
201 Bridge Street, Aberdeen. This George Washington Wilson image shows a horse drawn bus on Bridge Street travelling towards Union Street. The stairs leading to the upper deck can be seen, and the iron wheels must have been very noisy on the cobbled streets. The bus is just passing the American Store whose premises were 'To Let', and Galloway and Sykes, cabinet makers - the latter firm are only listed at 50 Bridge Street between 1887 and 1889. Royal visit by Princess Beatrice
315 A photograph showing Princess Beatrice at Aberdeen Music Hall to open a bazaar in aid of the Sick Children's Hospital.
The bazaar took place in the Music Hall on Saturday 29th and Sunday 30th October 1898. Princess Beatrice, then known as Princess Henry of Battenberg, opened the bazaar the day before on Friday 28th October.
The opening ceremony was covered in the Aberdeen Journal of 29th October 1898, page 5. The article states that Beatrice arrived by train at the Joint Station before travelling to the Music Hall from Guild Street by the horse drawn carriage that we can see here.
The route travelled and much of the surrounding area were specially decorated for the occasion. The various businesses and buildings along the route decorated their own premises and many of these decorations are described in the newspaper report.
The city gardeners Peter Harper of Duthie Park and Robert Walker of Victoria Park were tasked with creating floral displays. Harper decorated the interior of the Joint Station and the Music Hall, while Walker decorated the route between the two.
The special royal train arrived at the joint station a couple of minutes before its scheduled time of 12:15pm. Beatrice was greeted at the station by a large civic and military reception and crowds of onlookers.
The newspaper report indicates that travelling in the horse drawn carriage with Beatrice was Miss Minnie Cochrane and Lord William Cecil, both were royal courtiers. The man sat in the carriage is therefore most likely the latter.
Following the opening ceremony, Beatrice was entertained at a luncheon at the Palace Hotel by the directors of the Royal Aberdeen Hospital for Sick Children.
Beatrice and her party returned to Balmoral on a train leaving the station at 2:45pm.
The newspaper also tells us that Messrs. Walker & Company, cinematographers, Bridge Street, filmed the procession as it passed along the railway bridge on Guild Street. Assistant photographers with still cameras captured the rest of proceedings. This photograph was likely taken by one of these assistants.
A sign for Walker & Company can be seen hanging above the Music Hall entrance. This dates the image as belonging to this later royal visit by Princess Beatrice. She previously visited the city on 27th September 1883 to open an earlier bazaar for the Children's Hospital and to open the newly created Duthie Park The Pleasure Park, Aberdeen Beach
397 A postcard showing John Henry Iles' Pleasure Park in the 1930s. The park's esplanade site, south of Wellington Street (roughly where Amadeus nightclub/the Range and part of the Queen's Links carpark would later stand), was leased to Iles by the Council in 1929. Illes was an amusement entrepreneur originally from Manchester.
The park's biggest attraction, in all senses, was the Scenic Railway roller coaster shown here. Iles was involved in several amusement parks around Britain and during a visit to New York he obtained the European rights to the design of the latest roller coasters. He subsequently erected his Scenic Railway in Aberdeen in 1929.
The roller coaster rose to 100 feet in the air at its highest point and was popular with holiday makers and locals throughout the 1930s. The local press recorded 21,000 children, between 3 and 14 years of age, carried on the ride during a special children's day that was held on Saturday 20th August 1932.
Part of the message written on the back of this postcard by a young visitor to Aberdeen reads "This picture shows you the scenic railway which I have been on and liked very much".
The Scenic Railway was sadly badly damaged by fire on the night of 5th December 1940 and was consequently demolished. Other attractions of Iles' park included rides such as The Caterpillar, The Whip, Water Dodgems, and the Brooklyn Racers (petrol driven cars).
In the background of this image be seen the tower of St. Clements Church and a row of tenements, likely those on Wellington Street. Marischal Street
732 This photograph shows Marischal Street at its junction with Regent Quay, looking north towards Castle Street.
It was built to improve the connection between the harbour and the main part of the city, which had previously only been accessible via the steep incline of Shore Brae and the Shiprow.
In 1766, the Town Council were successful in purchasing the unoccupied Lodging of the Earl Marischal of Scotland which stood on the south side of the Castlegate. It was then demolished to open up the way for the new street, named in the Earl's honour.
It was the first street in Aberdeen to be paved with dressed granite setts. Houses were built and were occupied by prosperous professional men such as Dr William Dyce; Andrew Roberston, William Young and Alexander Fraser; both to become Provosts of Aberdeen. These properties were mostly converted to commercial use in later years.
The buildings on the right were replaced by the long and narrow, neo-classical building, designed by Robert Gordon Wilson and built in 1901-02, that can still be seen today at 33 Regent Quay. The Pleasure Park
828 The Pleasure Park at Aberdeen Beach. The famous Scenic railway can be seen in the background.
In 1929 the Town Council leased John Henry Iles a piece of ground adjoining the sea front for use as an amusement park. The pleasure park was located on the esplanade south of Wellington Road.
Iles' park included rides such as The Caterpillar, The Whip, Water Dodgems, and the Brooklyn Racers (petrol driven cars).
The greatest innovation, however, was the scenic railway which rose to 100 feet in the air at its highest point.
The local press recorded 21,000 children, between 3 and 14 years of age, carried on the ride on the "Kiddies Day" that was held on Saturday 20th August 1932.
The ride was popular throughout the 1930s. It was badly damaged by fire on the night of 5th December 1940 and was subsequently destroyed.
Note the tower of St. Clements Church and the row of tenements, likely those on Wellington Street, in the background. Five men sit in an early motor bus
1663 This image shows an early motor bus, seated for about 7. Note the handrails for boarding at the back, and the two bench seats. The bus is a Renault. This kind of vehicle would have been used to convey guests between a hotel and a railway station, or to Aberdeen Sea Beach from Market Street.
(Many thanks to Dr Mike Mitchell for this information.) Earl of Fife Coach
2007 Mail coaches began in the 1780s from Edinburgh and by 1835, 27 coaches were running to various places from Aberdeen.
The Earl of Fife Coach seems to have started running around 1830, leaving Castle Street every morning at 7am and travelling via Old Meldrum, Turriff, Banff, Portsoy, Cullen and Fochabers where it joined the coaches to Inverness. It would arrive at Banff about 1pm, having changed horses on route.
Coaches were often named from the noblemen in the district in which they ran. The coach's arrival was heralded by a bugle call, and the coachman is described as wearing a blue coat with red trimmings, white hat with a black band, shining shoes and grey spats.
As railways expanded throughout the 1850's coaches were no longer required and gradually disappeared from the roads. This illustration depicts the coach circa 1840. 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. 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: Casino
3410 An Aberdeen Journals Archive photograph of the Casino cinema in around 1963.
The Casino cinema was opened on Wales Street on 7th February 1916 by John Peter Kilgour, a dealer in various waste materials. It had close competition with Bert Gate's Star Picture Palace just around the corner on Park Street. Michael Thomson in The Silver Screen in the Silver City describes the Casino as the second of Aberdeen's purpose-built picture halls. It and the "Starrie" served the population of the city's east end for many years.
The Casino was built on the site of Kilgour's factory yards. The architects for the project were George Sutherland and Clement George. The building's "Spanish villa" design is described by Thomson as unique for Aberdeen and highly unusual throughout Scotland. One distinctive feature was the low square tower at the Park Street side of the building that was topped by a red-tiled concave pyramidal roof. Thomson writes that features of the building combined to "bring a welcome splash of colour and gaiety to an otherwise drab corner of the city."
Following the death of John Peter Kilgour in 1920, the running of the Casino and his waste business was taken over by his son, Ormande L. Kilgour.
In the silent era the venue was a stronghold of cine-variety, showing all manner of performances in-between film screenings. In February 1936 the cinema celebrated its 20th birthday and a cake was cut by Kilgour and one the Casino's oldest patrons, a Mrs Stewart.
In November 1939 Bert Gates and Aberdeen Picture Palaces bought a controlling interest share in the Casino. The Beach Boulevard, which opened on 25th May 1959, ran directly outside the cinema and gave the Casino a prominent location. In March of that year the cinema was given a thorough renovation.
Despite its new prominent location and recent renovation, the Casino closed down as a cinema on Saturday 3rd October 1959. A spokesperson for the Donald Cinemas Group stated in the Evening Express at the time that the closure was due to the housing in the area being pulled down and people moving to new estates. Michael Thomson suggests that the proximity of the relatively new first-run Regal in Shiprow might also have drawn away the hoped-for holiday crowds from the Casino.
In 1961 the empty Casino was sold to local bookmakers James Rennie and Arthur Forbes to be used as a bingo hall. This was at the height of bingo's popularity and the Casino proved too small. The bingo operation was moved to the Kingsway Cinema which had showed its final film, Warlord of Crete on 3rd February 1962.
The area around the Casino was earmarked for redevelopment by Aberdeen Town Council. The cinema building was compulsorily purchased and, after spending some time as a store, was demolished at the same time as the Star in 1971. The site is now occupied by a residential development.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson]
Image © Aberdeen Journals Ltd. Coronavirus Aberdeen (I): 6
3741 A photograph by Roddy Millar, taken 06/04/2020, from a series showing the Coronavirus pandemic in Aberdeen between 19/03/2020 and 09/09/2020. Coronavirus Aberdeen (I): 8
3743 A photograph by Roddy Millar, taken 21/04/2020, from a series showing the Coronavirus pandemic in Aberdeen between 19/03/2020 and 09/09/2020. Coronavirus Aberdeen (II): 3
3777 A photograph by Roddy Millar, taken 09/11/2020, from a second series showing the Coronavirus pandemic in Aberdeen between 26/09/2020 and 20/04/2021. Sandilands: workers portrait
3827 An 1887 group portrait of workers at Sandilands Chemical Works.
John Miller established his chemical business in 1848 and for generations "Stinky Miller's" was the source of well-known smells down at the beach.
"Tools of the trade" are seen in the hands of these workers, who are mainly blacksmiths and labourers.
The 1880s maintenance workforce consisted of coopers, blacksmiths, lead burners, joiners, masons and labourers.
Sandilands Chemical Works was situated between the Gasworks and Garvock Wynd (north to south) and Miller Street and Links Road (west to east). Map of the "Royal Aberdeen Hotel"
146 This map shows the change that occurred between 1870s and the end of the 19th Century.
The Athenaeum is now a hotel-restaurant and the whole of Castle Street saw important improvements. Tramways lines can be seen on the streets. Treasure 21: Edward Raban work, 1624
192 As Book Week Scotland is celebrated in November it is appropriate to feature a volume from our historic and special collection, "Aberdeen Early Printers".
Of theological content Cum Bono Deo: Raine from the Clouds by Andrew Logie, printed in Aberdeen in 1624, is the earliest Edward Raban work held in Local Studies. Our image shows the title page the arrangement of which was described as "commendable with the judicious use of woodcuts and ornamental borders delighting the eye" (Edmond, J P: The Aberdeen Printers).
In addition to the item displayed we have at least 11 other items in our collection along with examples of other early Aberdeen printers such as Brown and Chalmers.
Raban's office was on the north side of Castle Street. He printed under the sign of "The Townes Armes" and this continued to be the sign board of the Aberdeen Printers for at least 100 years.
One of his earliest friends was the bookseller David Melville. Many books printed by Raban between 1622 and 1633 were printed for Melville and carry his name on the imprint.
Raban's press produced over 150 publications, ranging from graduation theses, sermons, theological works, editions of the psalms, almanacs to printed notices and schoolbooks for the Council.
Treasure 107: Daniel Tickets (1908-1911)
328 This treasure is a collection of twelve event tickets printed by James Daniel & Son between the years 1908 and 1911.
The tickets are all printed on coloured, hard card, roughly 3 inches by 1.5 inches and feature decorative edges. All twelve tickets were printed by James Daniel & Son of 46-48 Castle Street. The company was started in 1835 by James Daniel senior.
This small collection of tickets offers insight into both the work of an important Aberdeen business and the existence of long forgotten social clubs - and they may be one of the few remaining traces of clubs that were once an active part of social life in Aberdeen.
Ten of the tickets are for "Annual Camp-Outs", one is for a picnic and the last is for an "At Home" event. The latter was a social gathering of the early 20th century that involved supper, speeches, music and dancing. The outdoor gatherings took place at scenic spots within easy reach of the city such as Kincorth Wood, Tullos Hill and Persley Den.
Find out more about how the Edwardians spent their leisure time and the scandal surrounding James Daniel's company in the Treasures from our Collections interactive exhibition on our touchscreens. Cotton Street Electricity Works
387 John S. Reid in the third chapter of his excellent book, Mechanical Aberdeen (1990) explains that there were two technological developments during the 1880s that made electricity a far more useful source of power; the evolution of dynamos, key to electricity stations, and the development of the vacuum pump, which made the electric light bulb possible.
Aberdeen Town Council soon realised the potential benefits of electricity as a public utility and 1894 saw the opening of a municipal generating station at Cotton Street. It was built on gasworks ground, cost £21,500 and was primarily the work of Alex Smith, who had served as City Gas Engineer for around 25 years. The electrification of Aberdeen saw admirable and crucial co-operation between gas and electricity departments of the Town Council.
Reid tells us that the opening ceremony for the Cotton Street station saw the activation of Aberdeen's first electric public lighting. On 28 February, 1894, a large crowd gathered in Union Street and Castle Street to watch Lady Provost Stewart throw the switch to light up 10 arc lamps. This was the first stage of a plan that would see lighting extend up the rest of Union Street and branch off down the main streets. The venture made Aberdeen only the second corporation in Scotland to introduce electric street lamps (after Glasgow) and the first to construct their own generating station. The initial capacity of Cotton Street was 300 kilowatts. Tragedy of Douglas; or, The Noble Shepherd
488 This broadside advertises a play on Saturday 20th November 1813 at the Theatre Royal on Marischal Street. The play is Douglas; or, The Noble Shepherd. Printed locally by John Booth of North Street, the broadside modestly declares the play to be of equal quality to any production outside of London.
Accompanying the play were comical songs, a ballad, and a reworking of Shakespeare's Taming of the Shrew by David Garrick, titled Catharine & Petruchio.
The broadside indicates locations that tickets may be bought, the "Public Library" and the "Musical Repository", and other productions available for viewing. The play's cheapest ticket, for the gallery, cost 1 shilling. This was approximately half a shilling shy of the cost of a loaf of bread (Aberdeen Journal, 7th July 1813).
Douglas was a five-act tragedy authored by John Homes. Performed first in 1756 Edinburgh, it was a resounding success, with productions put on across the eighteenth and nineteenth centuries, travelling as far a field as North America. That being said, that week's edition of Aberdeen's Journal only gave the announcement of the play's arrival one line, buried in the third page.
The play's contents was often changed by Home, depending on its audience. The play examines the deep tension between Scotland's people and its nationhood, particularly in regard to Scotland's cultural independence from Britain. On the play's first night in 1756, the play so inspired one playgoer with patriotism that he shouted "Whar's yer Wully Shakespeare noo!" in the middle of the performance. (Megan Stoner Morgan, Scottish Literary Review, vol. 4, no. 1 (2012)).
The play also left a deep impression on the Scottish Enlightenment philosopher David Hume. Regarding the broadside, it is interesting to note that Douglas, not the Shakespearean comedy, was the headline act.
The play's protagonist, Douglas, is played by an H. Johnston, most likely a 36-year-old Henry Erskine Johnston. A portrait of him playing the title role is held at the National Portrait Gallery. Impressively, he also serves as Petruchio in Garrick's Catherine & Petruchio. Likewise, other actors play characters in both productions. Grand reform meeting held at Aberdeen, 18th May 1832
530 A colourised lithographed sketch of the Grand Reform Meeting that took place on Broad Hill, Aberdeen on Friday 18th May 1832.
Popular and parliamentary support for electoral reform had been growing across the United Kingdom in this period. At the time, only a small number of wealthy landowners had the right to vote, the franchise was geographically inconsistent, and the representation by members of parliament was out-dated.
This Aberdeen meeting, like many that took place around the country at the time, was organised following the House of Lords blocking the Third Reform Bill of Prime Minister Charles Grey (1764-1845), 2nd Earl Grey, and the subsequent resignation of Grey and his Whig ministers.
Newspaper accounts of the meeting indicate that attendees had just learnt that the Duke of Wellington (1769-1852), a Tory opponent to reform, had been unable to form a government following the resignation of the Whigs and an invitation from King William IV, and that the monarch had recalled Earl Grey.
Organised by prominent local supporters of electoral reform, the Reform Committee, the meeting agreed seven resolutions for presentation to parliament including the following: consternation at the bill not being passed, support of Earl Grey and colleagues, agreement to withholding national supplies (funding) from the government until the bill is passed, and that Joseph Hume (1777-1855), then MP for Middlesex, present the petition instead of the member for the Aberdeen boroughs, Horatio Ross (1801-1886), who was accused of backsliding on reform.
The report in the following day's Aberdeen Chronicle newspaper suggest the meeting was attended by 30,000 to 40,000 people. The Tory-leaning Aberdeen Journal, in its issue of Wednesday 23rd May 1832, page 2, gives an estimate of 15,000 to 20,000.
Contingents of various trades began to muster at Union Street West at about 1.30pm. A large procession proceeded east along the street and were joined by the Reform Committee from the Royal Hotel, 63 Union Street, located just after the junction with Market Street.
The full procession, with the Committee at its head and joined by deputations from the country, travelled to the Links via Castle Street, King Street, Frederick Street and Constitution Street. Several bands accompanied the procession and there were a large number of banners with reform slogans.
On the motion of Reverend William Jack (1768-1854), principal of King's College, Sir Michael Bruce of Stenhouse and Scotstown (1798-1862) was called to chair the meeting. John Angus (1799-1878), an advocate and later Town Clerk of Aberdeen, was the secretary.
Speakers included General Andrew Leith Hay of Rannes (1785-1862), Alexander Bannerman (1788-1864), Sir John Forbes of Craigievar (1785-1846), Alexander Blackie, banker, Thomas Burnett, younger of Leys (1778-1849), John M. Gerrard of Midstrath, Alexander Kilgore, surgeon, James Forbes of Echt, Alexander Stronach of Drumallan, James Nicol, advocate, William Allardyce, wine merchant, Harry Leith Lumsden of Auchindour, William Moir of Park and Alexander Forbes of Ainslie.
Both the account in the Aberdeen Chronicle and the speeches on the day remark on the disruptive potential of the crowd, under circumstances of reform not being progressed. Though the speakers urged those in attendance to continue in a peaceful manner.
Some speakers compared the fight for electoral reform to that for religious freedom in Scotland. There is explicit and repeated support given for William VI, but the Duke of Wellington is considered an inappropriate progressor of reform. The return of Earl Grey is promoted.
Faced with the prospect of William VI ennobling new Whig members of the House of Lords, Tory opponents of the Third Reform Bill abstained from votes and it passed through the upper house. The Representation of the People Act 1832 was given royal assent on 7th June 1832, and its Scottish equivalent around the same time, and came into law.
The Act was a substantial reform of Britain's antiquated electoral system, redistributing seats and changing the conditions of the franchise, but still left most people without the vote. Subsequent popular and parliamentary politics would led to further legislation and the fuller suffrage of modern times.
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