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Rubislaw Toll House
316 Rubislaw Toll House, Queens Road at the junction with Spademill Road may still be seen with its rounded windows, facing different directions in order to spot victims who could be mulcted of their due tollage. It continued to function until 1863, when tolls for the maintenance of the county roads were abolished. The building then became a shop. 13 Skene Square
792 A photograph showing 13 Skene Square in the late 19th century. This tenement is thought to be the birthplace of the genre and portrait painter John Phillip (1817-1867).
The image is included as a plate in Historical Aberdeen: the Castle and the Castle-hill, the Snow Church, the Woolmanhill and neighbourhood, the Guestrow by G. M. Fraser (1905).
Fraser indicates that the tablet that can be seen above the door was put up in memory of John Phillip by his friend William Brodie (1815-1881), the sculptor.
Fraser elaborates as follows:
"The first plate on the house, 13 Skene Square, was placed there by William Brodie, the sculptor. that house was pulled down six years ago, but fortunately Mr George Watt, architect, the proprietor of the house erected on the spot, has, with much public spirit, placed a bronze tablet on the new house telling that Phillip's house stood on that site. I wish we could be absolutely certain that Phillip was born here. There can be no doubt that he lived here as a child, but it suggestive that in the detailed notices of Phillip in the Aberdeen papers at the time of his death, it was said that he was born in Windy Wynd, where his father was a shoemaker. See Aberdeen Journal, 6th March, 1867; Aberdeen Free Press, 1st March, 1867. Stop 2: Katherine Humphrey (died 1830), the Gibbetstane, on road outside the Tolbooth, Castlegate
2301 The rectangular set of cobblestones or cassies outside the Tolbooth on Castle Street marks the site of the gallows in the Castlegate. It was on this spot that Kate Humphrey was the last woman to be publicly hanged in 1830 for murdering her husband James. Kate ran a public house with him in the nearby Bool Road and warned the magistrates of the 'evils of drink' in her final moments of life before she 'looked doon Marischal Street' - the local term for being hanged. Her body was sent to Dr Alexander Munro's Dissecting Rooms in Edinburgh. Kate believed she had been cursed when she was struck on the breat by the knot of the hangman's rope while witnessing Jean Craig's execution in 1784. Hazlehead Park
3040 This postcard image looks north west from the grassy, wooded area in front of Hazlehead House.
Previously the main residence on the estate, the house became a café after the opening of the park in 1920. It was located in the same spot as the later restaurant building that was opened in June 1960.
This James Valentine postcard image likely dates from fairly shortly after the opening of the park. The park is referred to as Hazlehead Woods in the card's caption. The Development of Marischal Square and Broad Street (23/08/2015-20/04/2018): 7
3057 A wide angle shot of lift shafts on the NE corner of the site taken from the top of Upperkirkgate. It exaggerates a bit the difference in size between the lift shafts and Provost's Skene's House, just visible in the bottom right hand corner. A scaffolding clad Town House spire, similarly, just visible in the bottom left corner. 01/11/2015 Aberdeen Cinemas: West End / Playhouse
3415 An Aberdeen Journals Archive photograph of the Playhouse at 475 Union Street in January 1959. The venue originally opened on 12th November 1915 as a cinema called the West End. This was the first venture into full-time picture-hall proprietorship by James F. Donald, a key figure in the history of independent cinema exhibition in Aberdeen.
Donald was born in Newhills and came to Aberdeen for an apprenticeship with a coachbuilding firm. He had a varied career before coming to prominence as a highly successful dancing teacher. He was the leader of the Gondolier School of Dancing and Deportment.
He moved into the cinema business after acquiring the necessary projecting equipment and occupying a former billiard hall above the Aberdeen Dairy at 475 Union Street. Michael Thomson in Silver Screen in the Silver City (1988) describes the cinema as a "strictly utilitarian affair", but a successful one at that. It was only heated by stoves, and coupled with being above a diary, it became known as "The Tuppenny Freezer".
Donald's lease on the cinema expired in September 1920 and he was immediately followed as proprietor by Bert Gate's Aberdeen Picture Palaces. It was a time of expansion for the incoming company. They had recently purchased The Picturedrome on Skene Terrace and shortly looked to transform the West End. The latter closed on 2nd April and reopened on 14th September 1921 as the 1,000-seater Picture Playhouse.
The opening ceremony was attended by Gates, the cinema's architects George Sutherland and Clement George, and various local VIPs. The opening films were A Yankee in the Court of King Arthur, a comedy called Jerry on the Spot, Pathé news, and another short. Thomson states that Aberdeen Picture Palaces were "now the proud possessor of a large, well-situated 'flagship' house, and Union Street now sported a fine up-to-date cinema."
The design of the Playhouse was "classical" and up-market, in accordance with its prominent west-end location. As seen here, the Union Street entrance was surrounded by white Sicilian marble facings on a black marble base. The paybox was oval in shape with one end in the vestibule and the other in the front foyer.
The main foyer was through the Union Street part of the building and up a 12-feet wide carpeted, marble stairway. This way was a tea room called the Ingleneuk, the manager's office, and the ornately decorated auditorium. The plush new cinema represented competition for the nearby Picture House.
Bert Gates, the manager of the Playhouse, was somewhat sceptical of the talkies but fully embraced the new development in February 1930 with the installation of a full Western Electric sound system.
The opening of Aberdeen Picture Palace's Capitol down the road in 1933 saw a reduction in ticket prices at the Playhouse. The two partner cinemas were advertised at the time as "Aberdeen's Premier Pair".
On 23 May 1941 it was announced that James F. Donald (Aberdeen Cinemas) Ltd. had bought a controlling interest in Aberdeen Picture Palaces. This meant that the Playhouse, along with the other APP venues, were now in the Donald circuit of cinemas.
This photograph dates from 1959 shortly before the cinema was relaunched as the Playhouse Continental, showing popular, often more risqué, films from Europe. This only lasted for a couple of years and the cinema reverted to being the Playhouse in 1961. This photograph shows the cinema advertising The Wind Cannot Read with Dirk Bogarde and All for Mary.
By 1973 the profitability of the Playhouse was eroded by spiralling costs. The owners of the building, builders James Scott & Son, had moved premises and were looking to dispose of the Union Street property. The cinema's lease was terminated at the end of 1973 and the cinema closed on 9th May 1974. Ownership of the block passed to Devanha Properties Ltd. and after lying empty for a few months the Playhouse was demolished to make way for a new block of shops and offices.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson]
Image © Aberdeen Journals Ltd. Treasure 25: Alexander Ogg, Land Surveyor: Inverurie, Aberdeen and New Zealand
196 November 27th 2015 marks the 150th anniversary of the death of the land surveyor Alexander Ogg. Local historian, and Central Library user, Dr Douglas Lockhart made the excellent suggestion that we celebrate this anniversary by displaying Ogg's rare Map of New and Old Aberdeen (1855) as a treasure for November.
The tremendous level of detail; annotation of residential and business occupants and the inclusion of various proposed city developments, make the map a particularly interesting historical item.
This version of the map was corrected to 1855 and published by J. Gellatly, 26 George Street, Edinburgh.
There is a brief description of the map in the bottom right of the sheet that reads:
"This map, continued from the Original Survey made in 1809, by John Smith Architect; has been revised and corrected to 1848, by Alexr. Ogg Land Surveyor; the Railways and Approaches by Alexr. Gibb, C.E. and the Harbour Improvements by James Abernethy, Harbour Engineer."
The National Library of Scotland hold a version of the map corrected to 1847 and published by D. Wyllie & Son, 111 Union Street, Aberdeen. It features a similar description to the one above, the only difference being it states it is corrected by Ogg to 1847.
There are visible differences between the two versions, particularly around the railway areas. How much these amendments are due to Ogg in 1848 or a later cartographer is unclear. Treasure 88: Polar Exploration
300 One of this month's treasures is a selection of our books about polar exploration. These mainly 19th century volumes were often written by those placed in command of a particular expedition, providing first-hand accounts of voyages through glacial seas and journeys to the frozen ends of the earth.
The many attempts to reach the North Pole are well documented in works such as Dr Fridtjof Nansen's Farthest North, 1898 and The Great Frozen Sea, 1894 by Rear-Admiral Albert Hastings Markham.
Similarly at the other end of the world the race was on to conquer the South Pole. Many countries mounted expeditions to the Antarctic in the early 1900's. One such undertaking has been chronicled in Ernest Shackleton's The Heart of the Antarctic, 1909 which is the story of the British Antarctic Expedition 1907-1909. The first successful attempt to reach the South Pole was made by Roald Amundsen who arrived there on 14 December 1911. It was a tight competition as the British Party with Captain Robert Falcon Scott as their leader arrived at the same spot only five weeks later.
Discover fascinating facts about the North and South Poles and the explorers who attempted to journey to the ends of the earth in the Treasures from our Collections interactive exhibition. Treasure 100: Pugin books and the Gothic Revival
319 The Gothic Revival is a term used to describe a movement in art, architecture and design from the mid-18th century to the late 19th century that was heavily influenced by medieval gothic style. In its beginnings it was an architectural style adopted largely by the rich and powerful for their grand houses and follies, and coincided with the rise in gothic literature such as Horace Walpole's Castle of Otranto (1764), and M.G. Lewis's The Monk (1796). However, towards the middle of the 19th century, the gothic style was beginning to filter into all aspects of private and public life, and one of the leading figures in this trend was Augustus Welby Northmore Pugin, son of the French born architect Auguste Pugin. In our collection we have two books by A.W.N. Pugin, and they are on display until the end of February. The first is a volume published in Edinburgh in the late 19th century that includes a number of publications by Pugin from the 1830s:
· Details of Antient Timber Houses of the 15th & 16th Centuries Selected from those existing at Rouen, Caen, Beauvais, Gisors, Abbeville, Strasbourg, etc. drawn on the spot [London, 1836]
· Gothic Furniture in the Style of the 15th Century designed and etched by A.W.N. Pugin [London 1835]
· Designs for Gold and Silversmiths [London 1836]
· Designs for Iron and Brass Work in the style of XV and XVI Centuries [London 1836]
The second is a very rare and highly detailed 1875 edition of floral designs intended for stencilling that was originally published in 1849; Floriated Ornament: A Series of Thirty-One Designs. Both books are rich in design and detail, and perfectly demonstrate the Victorian fervour for the application of gothic design in all aspects of their decoration, from architecture to interiors, tableware to jewellery.
View our Treasure exhibition on the interactive screen to see some more beautiful engravings from these unique publications. |