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Westerton Farm
1474 A photograph, likely by James G. Kellas and from around 1951, showing one of either two farms known as Westerton. Both have since been demolished.
It could be the Westerton Farm that was located on the old road that preceded Provost Fraser Drive. Near where Provost Fraser Drive now meets Springhill Road, in the space between Provost Fraser and Springhill Terrace.
This Westerton Farm was demolished shortly after this photograph was taken to make way for the development of the Northfield housing estate.
Across the old road from this farm was the lands of Springhill House and Farm.
The other Westerton Farm was just to the north east of Northfield Farm and a bit south of Dancing Cairns Quarry. This farm was also previously known as Midtown.
Like Northfield Farm (demolished late 50s/early 60s), this Westerton survived the initial development of Northfield as a housing estate. Ordnance Survey maps suggest the farm made way for the construction of Marchburn Court, and the extension of Smithyhaugh Road, in the mid-to-late 1960s.
It is difficult to say for certain which farm this photograph shows. The hills in the background perhaps suggest we are looking west towards the more northernly Westerton, the one nearer Northfield Farm. 1929 This illustration shows Queen Victoria receiving the keys of the City of Aberdeen in October 1857 as she travelled to the railway station after a summer spent at Balmoral. The Queen and the Prince Consort had travelled by coach the 60 miles from Balmoral to visit the Earl of Aberdeen at Haddo House on Wednesday 14th October. Their route was decorated with flags and arches at various points. A dinner, with a number of guests, including Lord Provost Webster of Aberdeen, was held at Haddo that evening and huge bonfires on surrounding hills lit the scene. On Thursday 15th October, the Queen and Prince Consort left Haddo, accompanied by the Earl and his son. More decorative arches had been erected on the roads south to Aberdeen. The Lord Provost, magistrates and councillors met the Queen at this Royal Arch near the city boundary at Love Lane (now Nelson Street) on King Street. The arch had been designed by the City Architect, William Smith. It was 15 feet wide, 26 feet high, with two smaller side arches. It was surmounted by the Royal Arms, flags and banners, with the words, "God save the Queen" and "Victoria", on either side in gilt letters. The side arches had the City motto, "Bon Accord", with floral crowns above, with flowers, evergreens and heather decorations. Many of the Guard of Honour wore the Crimean medal. The Lord Provost presented the silver keys on a velvet cushion to the Queen, who touched them, returned them to the Provost and said, "It affords me great gratification to be once more in my City of Aberdeen". The dignitaries returned to their coaches and the procession traveled on to Guild Street railway station, where, after a luncheon, the Royal Party now joined by the Royal children, who had come direct from Balmoral, boarded the train for Windsor. Commercial Road
3529 A photograph depicting a view of the quayside in Aberdeen Harbour. On the left multiple coal or fish barrels can be seen in the foreground.
To the right docked steam trawlers can be seen at the quay. Standing near the boats are two helmeted police officers.
The hills in the background are likely those of Balnagask. This suggests the image is looking east along Commercial Road or south east down Pocra Quay.
The white-washed house in the distance is likely North Kirkhill Farm. Point Law
3570 This shot has been taken along Point Law and features a bustling fish market scene.
Horse-driven carts carry supplies down the street, and steam drifters are moored alongside. Past the harbour, the hills by Greyhope Road are visible.
One of the steam drifters appears to be the Agnes Dickson (A227). She was owned by Adam Dickson and graced the Aberdeen Harbour between 1909 and 1914 under this name and number in mariner almanacs.
The presence of the Agnes Dickson suggests this photograph dates from that approximate period. Point Law
3572 The photograph looks South-East to Point Law from Provost Matthews' Quay.
In direct line of sight is a mixed fleet of sail boats and steam drifters. They sit moored in the tidal area of the harbour.
The hills between Old South Breakwater and Torry Harbour stretch hazily in the background.
Two of the visible sailing boats are registered with Inverness and Aberdeen. They are thought to have been the White Rose (A149) and the Unity (INS450).
Both of these vessels were in Scotland at the same time for a period of about ten years. In accordance with this, it is likely the photograph was taken between 1903-1913. Tidal Harbour
3582 This shot overlooks the mouth of the Tidal Harbour. The direction it faces is toward Pocra Quay, possibly from the strategic point of Albert Basin.
On the right of the photo, 2nd class sailboat 823A is under sail. Most sailboats registered in the area were involved in the popular herring trade.
A paddle tug and steam trawler sit mid shot with the hills adjacent to Old South Breakwater beyond.
Pulling out of the shot on the left, can be noticed an other paddle steamer. According to The Aberdeen Weekly Journal, The Northern Lights Service had many around the East Coast of Scotland, especially between 1900-1920. River Dee and Creag nam Ban
4224 A photograph, looking east, showing the River Dee between Ballater and Braemar. Beyond the river is the outline of Creag nam Ban and Sgor an h-Iolaire. These hills stand to the south east of Abergledie.
This image likely dates from the 1970s or 80s. It is a part of a collection of slides donated to Aberdeen City Libraries by Aberdeen City Council's Publicity department. 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. Treasures 5: The Aberdeen Bon-Accord and Northern Pictorial Holidays Numbers
174 This Art Deco style cover from 1935 features a series of photographs depicting boating by the sea, the busy beach promenade and walking in the nearby hills. The lower half of the design is given over to details of the public transport available to holidaymakers with silhouettes of a tram and bus.
Come and visit our 125 Treasure exhibition in the Central Library during July 2015 to take a closer look at the full bound volumes of these remarkable newspapers. Treasure 41: Mary Garden Record Collection
210 We hold a number of original vinyl records in our collections, including those of Mary Garden, a local girl who found global fame as an opera singer in the early 20th Century.
Born at 35 Charlotte Street on 20 February 1874, Mary Garden left her native Aberdeen around the age of nine when the family moved to America in search of better opportunities and a new life.
After a period of uncertainty and several moves, a young Mary accepted a role as a childminder in Chicago, with payment taking the form of singing lessons to further her obvious interest. By 1896, Mary had shown sufficient progress that she accompanied her tutor to Paris in a quest to pursue a career in opera.
Mary's first big break came in 1900, when she performed in the new opera, Louise after the main star became unwell. A series of leading roles followed in 1901, including Thaïs, Manon and Madame Chrysanthème. For the next decade, Mary courted both limelight and controversy as she portrayed leading characters on stage, while being romantically linked to various composers and directors off-stage. Adding fuel to these fires of speculation, Claude Debussy chose Garden to create the title role of his new play, Mélisande, overruling the preference of his own librettist.
At the outbreak of the First World War, Mary attempted to enlist in the French army - but with her identity discovered, she instead turned to nursing at a hospital in Versailles. When she returned to America, she continued to raise funds for the French Red Cross. Her efforts during both war and peacetime generated awards from Serbia and France.
Mary appeared in two silent films - the first released in 1918 - but she found difficulty adapting to the new medium and this separate career never took off. She returned to her first passion and continued to perform in opera until the mid-1930s.
In 1921, Mary was offered the role of director of the Chicago Opera Association, and as she was still performing - undertook both roles with fervour. Under her tenure, the Association took on many new and exciting artists and works.
At the outbreak of war in 1939, Mary chose to remain in Paris, until the German invasion forced her to escape, leaving all of her possessions behind. In June 1940, she returned to Aberdeen but the lure of teaching the next operatic generation proved too strong and she once again travelled to America to coach young stars and give lectures in 1949-1950.
By this time, it appears that Mary's memory had started to suffer - evidenced by the 1951 autobiographical publication Mary Garden's Story which was riddled with factual errors. The book received disastrous reviews and possibly led to her decision to reside permanently in Aberdeen from 1954.
Mary died in 1967 in the House of Daviot, a country hospital near Inverurie, aged 92. Fifty friends attended a small ceremony. A small commemorative plaque is located at 41 Dee Street where the Garden family lived, and a small garden is dedicated to her memory in Craigie Loanings.
Although she remains relatively little known in her native Aberdeen, Mary's legacy is considerable in the United States - particularly in Chicago where her stewardship of the Opera Association is still remembered fondly.
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