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Allenvale Cemetery from Kincorth
60 An early photograph of Allenvale Cemetery, taking shape in the middle distance, as seen from Kincorth, with Abbotswell Farm in the foreground.
A limited company called the Aberdeen Cemetery Company was established for the purpose of creating this new graveyard. A prospectus inviting public investment was published in the Aberdeen Journal of 29th January 1873. It reads as follows:
"It is well known that in Aberdeen cemetery accommodation is limited and insufficient, and it is generally admitted that its extension is necessary, and cannot much longer be delayed. It is therefore desirable to acquire additional space for that purpose, and to treat it in accordance with modern ideas and practice.
"This company has been formed for the purpose of providing an extensive Cemetery, in the neighbourhood of Aberdeen, suitable in all respects for the purposes of internment, and of easy access - but sufficiently removed from town to preserve its suburban character."
The new cemetery opened in late 1874 and, as we know, was a big hit. It was officially known as the Aberdeen Cemetery but quickly became known as Allenvale Cemetery, after the property on which it was built.
Allenvale saw major extensions in 1912 and 1932. A London syndicate purchased control of the graveyard from the Aberdeen Cemetery Company in 1958. Aberdeen Town Council subsequently took control of the cemetery in 1965 following the then owners going into liquidation and worries about Allenvale's future. Allenvale remains a fine example of a planned Victorian cemetery to this day.
Notable residents of Allenvale include John James Rickard MacLeod (1876-1935), co-discoverer of insulin, James Scott Skinner (1843-1927), fiddler and composer, and Mary Esslemont (1891-1984), the influential doctor. Though, of course, many interned at Allenvale would have their own interesting stories to tell.
In this photograph, Duthie Park, later created on the right, has yet to be landscaped. St. Machar Poorhouse, Fonthill House and Devanha House can all be seen in the distance. Statue of Queen Victoria
73 A photograph showing the statue of Queen Victoria at the junction of Union Street and St. Nicholas Street. The building in the background is the Clydesdale Bank that stands next to M&S today. This fine Italian renaissance style building was originally constructed for the Town and County Bank and opened for business in May 1863.
The statue of Queen Victoria was made from marble and was sculpted by Banff born Alexander Brodie (c.1829 - 1867). The origin of this statue is closely related to another Aberdeen monument, the 1863 memorial statue of Prince Albert by Baron Marochetti, now standing, or rather sitting, in the area in front of the Central Library.
Marochetti's statue was augurated by Queen Victoria herself on 13th October 1863 and this was said to the first time the Queen had appeared at a public demonstration following the death of Albert in 1861. The Marochetti statue was the subject of great local controversy and there were various plans for an alternative, superior, memorial to the late Prince Consort. It was at a related meeting that a chap called Alexander Donald, from the Royal Tradesman of Aberdeen, moved "That a colossal statue in marble, of Her Majesty, be erected at the corner of St. Nicholas Street."
The endeavour was taken on by a variety of prominent citizens and funding was raised by public subscription. Brodie, the selected sculptor, worked on an 11-ton block of Sicilian marble for two years to complete the statue. The finished piece is 8 foot 6 inches in height and, at the request of Queen herself, depicts Victoria in Scottish regal attire. The statue stands on a substantial plinth of pink Peterhead granite.
The statue was unveiled and inaugurated on 20th September 1866 by Albert-Edward Prince of Wales, later to be King Edward VII and the subject of another of Aberdeen's notable statues. During his speech at the ceremony, the Prince said "Gentlemen, it has afforded me the greatest satisfaction to attend here today, by the wish of Her Majesty, and at your invitation, for the purpose of inaugurating a statue of the Queen, my dear mother. Her Majesty has desired me to express to you how much she appreciates the motives which have led the people of Aberdeenshire to give this lasting evidence of their attachment and loyalty to her person, of which she has so many proofs, and whose sympathy in her great sorrow has touched her so deeply."
During his visit, the Prince of Wales also received the Freedom of the City and attended the Royal Horticultural Society's Autumn Show, which was then going on in the Music Hall. An extensive account of the unveiling, the Royal visit and the town's celebrations is given in the Aberdeen Journal of 26th September 1866.
After some time at this location, the statue's marble began to show weathering due to the frost and so it was moved to the vestibule of the Town House in 1888, where it remains to this day. It stands at the foot of the building's splendid main stairway. The plaster model of Brodie's statue has also been on display in the Music Hall for many years.
A new bronze statue of an older Victoria, by sculptor Charles Bell Birch, was erected at the St. Nicholas Street location on 9th November 1893 and "the Queen" became a regular meeting place for generations of Aberdonians. To make way for the extension of Marks & Spencer, the 1893 statue moved to its current site at Queen's Cross on 22nd January 1964. Victoria now stands looking east towards Balmoral. 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. Postcard of ruins of Huntly Castle
288 Located on the outskirts of Huntly, the castle stands on the south bank of the River Deveron. The castle dates from the late 12th century with a Norman Motte and Bailey , a medieval L-Plan tower house and defence earthworks of the Civil War nearby. The castle was the home of the Gordons, a powerful Catholic family who once ruled over much of the North-East. The main structure was begun by Lord Gordon in 1452, being built in the new 'Palace' style. The castle was not completed in its final form until 1597/1606. In 1650 it was visited briefly by Charles ll, on his way to Worcester, defeat and exile. After the Civil War, the castle fell into disuse and the Dukes of Gordon moved to Fochabers. Much of the impressive ruin still remains including the fine heraldic doorway. The castle is now the property of Historic Scotland, and is open to the public. Marischal College c. 1741
491 The original Marischal College, architect William Adam of Edinburgh, was built in 1741 and demolished in 1840. The building was entered from the gateway on the Broadgate. The Public School occupied the ground floor of the principal building, the Public Hall was on the next floor, and the Library on the third. The wings contained lodgings for three of the Professors, the Divinity Hall and extra classrooms. There was a fine heraldic ceiling in the Public School but it was destroyed in 1836/40 when the old college was taken down to make way for the new building. Upper Denburn
729 Upper Denburn, looking east, prior to its demolition.
Brick gable tenements can be seen on the left already stripped of their roofs.
The viewpoint is looking from the Dyers Court area eastwards towards Marischal College Tower and the retaining wall of the Royal Infirmary (with its dome on the skyline). This lead to Spa Street and Woolmanhill beyond.
The houses and tenements on the right are more sparse and primarily traders yards.
Garden Nook Close led off the left past a timber yard to the Well of Spa. The Well O' Spa Pub was on the extreme left corner.
Note the partial visible trade sign on the ridge of the distant roof - most likely James Stephen & Son. They were carvers, gilders/ornamental plasterers, mirror & picture frame makers, artists' colourmen and fine art dealers and operated at 48-50 Woolmanhill from around 1890-1933. Gordon's Hospital Spire rises beyond these premises.
(Many thanks to Ed Fowler for the above description). Schoolhill decorated for a royal visit
776 Schoolhill, showing Aberdeen Art Gallery, the entrance to Robert Gordon's College and Gray's School of Art.
This image shows the buildings decorated for the city's celebrations of the coronation of Edward VII and Queen Alexandra that were held on Saturday 9th August 1902. The new monarchs had been crowned the previous year.
The decorations on Schoolhill and Rosemount Viaduct were carried out under the direction of Mr Stewart, superintendent of Stewart Park.
See the Aberdeen Daily Journal from Monday 11th August 1902 for an extensive report on the coronation celebrations. Trinity Lane
1208 Trinity Lane, Aberdeen, c.1975, from Exchange Street.
The Trinity place-name comes from the area once being the site of a Trinitarian Friary.
The building to the right in this photograph was once known as Trinity Chapel, or Trinity Parish Church. It was opened for public worship on Sunday 27th April, 1794.
For a number of years, the chapel was an important centre of religious life and activity. The Disruption of 1843 significantly diminished the congregation. The building was subsequently sold by the Presbytery and became the Alhambra Music Hall.
See Gammie's Churches of Aberdeen (1909) for more information on the history of this congregation and building.
A large part of the exterior still stands and the building currently houses Wagley's public house. In this photograph Alex. McKay, electrical appliance showroom, is in occupation. Newspaper notices indicate that the business moved here, from 41 The Green, in 1966.
The building in the centre of the image is best known, as shown here, as a banana warehouse for Knowles & Sons, fruiterers and later as a restaurant and art gallery. It was originally built as a church for Aberdeen's Catholic Apostolic congregation.
MUSA was a restaurant and art space, with a focus on music, throughout the first two decades of the 21st century. It closed down in October 2018.
8th March 2019 saw the opening of a new bar in the building called The Hop & Anchor, specialising in craft beer. It is owned by a company called the Draft House and this is their first pub outside London. The Draft House is owned by Brewdog, the North East beer company. The Trinity Corner
1921 An illustration of the Trinity Corner, Shiprow. This was the gateway to the old Hall of the Seven Incorporated Trades.
At one time it was part of the Trinity Monastery. It was purchased in 1631 by Dr. William Guild, who gifted the buildings to the Incorporated Trades to be used as a meeting house and hospital.
The Trades had built this fine ornamental gateway with the following inscription: "To ye glorie of God and comfort of the poore this hows was given to the Crafts by Mr. William Guild, Doctour of Divinitie, Minister of Abd: 1633".
The buildings were removed when the area was redeveloped in the 1840s but the gateway was built into the Lower Denburn wall of the new Trinity Hall which was opened in Union Street in 1847. Treasure 31: Hays' Isometrical View of Aberdeen 1850
2586 In September 1850 an advert appeared in the local papers of Aberdeen for "Hays' Isometrical View of Aberdeen, giving a Distinct and Correct View of the Whole City and Environs". We hold copy of the plan from 1850 in our Local Studies collection.
The plan was available to purchase for 3s. 6d. and measured 34 inches by 19 inches. Carvers and gilders, J. & J. Hays, had premises at 2 Market Street where they also sold prints and optical instruments. At the bottom left of the image we see the words George Wilson, Delt. (abbreviation of delineator, i.e. the artist). George Wilson was to find fame a few years later as George Washington Wilson when he became one of Scotland's premier photographers.
George Washington Wilson
George Washington Wilson was born in 1823 at Waulkmill of Carnousie in Banffshire and left school at 12 years of age to be an apprentice carpenter. He practised his artistic skills by drawing portraits of friends and neighbours and, after training at art schools in Edinburgh and London, he returned to Aberdeen to become an art teacher and portrait painter.
By the late 1840's Wilson was attracted by the work of Fox Talbot in the new art of photography and after initial experiments with a homemade camera, he advertised a business offering photographic portraits before eventually expanding into landscape photography.
A Bird's Eye View of History
Wilson created this panoramic view of the city by making numerous sketches from the roofs of high buildings and then merging them into one comprehensive drawing. We are looking north across the city from the harbour with Union Street running horizontally across the centre and Old Aberdeen in the far distance. We can see how small the city actually was at this time - open fields are visible just to the north of the west end of Union Street.
A key to the most prominent buildings was provided and it is interesting to see which buildings have survived until today, often with additions, and which had yet to be built. Robert Gordon's Hospital (now College), Marischal College, and various churches including the Triple Kirks and St Nicholas East and West are all still standing but the West Prison, Castlehill Barracks and the Poorhouse have been demolished.
Bird's Eye View 1889
In December 1889, the Aberdeen Free Press offered its readers an updated version of the Bird's Eye View as a supplement to their newspaper. Numerous changes to the landscape of the city had taken place since Wilson's view. The Art Gallery Redevelopment
2662 The exterior of the Art Gallery in January 2018. The Art Gallery closed in 2015 for a major £30 million redevelopment. The main contractor on the project is McLaughlin and Harvey. The redesign was approved by councillors in 2013.
For much of the redevelopment the front of the building was covered in scaffolding and a large decorated screen. This image shows the recently re-emerged facade and the new top floor under construction. New Market
2706 An Adelphi Series postcard (no. 49) showing the interior of Aberdeen's indoor market. It is referred to as a the New Market as it was rebuilt in 1883 following a serious fire in the original Archibald Simpson building.
A large "Good Wishes" sign can be seen hanging from the ceiling. In addition to stalls selling flowers and fresh produce, the book and art print stands that made the market a much loved venue for collectors are also in evidence.
The premises of the American Restaurant can be seen at the far end of the hall. It served "good dinners" for 6d and promised "prompt attention" in newspaper adverts from 1895. It's frontage indicates it was a company with offices in London and Newcastle.
There is a sign for the Ellon Stall towards the back. Correspondent A. G. Duthie informs us that this outlet, which existed for much of the 20th century, specialised in country produce like eggs, cheese and butter. The company that ran the stall was George Milne & Son (Ellon Stall) Ltd, grocery and provision merchants, and they can be found recorded in the old Post Office Directories. Aberdeen Cable Subway
2886 This photograph shows the interior of the Aberdeen Cable Subway and was taken on the 1st March 1903. The subway was constructed as part of the Dee Village Electricity Works.
It was designed as a clever way to supply electricity to key areas without either unsightly overhead cables or repeatedly digging up of the streets. It was installed at a cost of £18,661 and was eight feet high by four feet eight inches wide. It runs up Crown Street, turns along Langstane Place and horse-shoes into Holburn Street.
It was designed with room to add cabling as demand increased. In order to minimise disruption, the subway was installed at the same time as a new sewer located below. The cable subway is still there today and remains one of many intriguing subterranean features of the city. The subway's ornate Art Nouveau ventilation shaft can be seen at the western end of Justine Mill Lane.
This image is from an album of photographs held by Aberdeen City Libraries detailing the construction of the Dee Village Electricity Works between 1901 and 1903. Aberdeen Cable Subway
2887 This photograph shows the Aberdeen Cable Subway under-construction in around 1901. The subway was constructed as part of the Dee Village Electricity Works.
It was designed as a clever way to supply electricity to key areas without either unsightly overhead cables or repeatedly digging up of the streets. It was installed at a cost of £18,661 and was eight feet high by four feet eight inches wide. It runs up Crown Street, turns along Langstane Place and horse-shoes into Holburn Street.
It was designed with room to add cabling as demand increased. In order to minimise disruption, the subway was installed at the same time as a new sewer located below. The cable subway is still there today and remains one of many intriguing subterranean features of the city. The subway's ornate Art Nouveau ventilation shaft can be seen at the western end of Justine Mill Lane.
This image is taken towards the bottom of Crown Street. The buildings in the distance are those on the south side of Millburn Street at its junction with Crown Street. In the mid distance can be seen the lone standing premises of Charles R. Fraser, paperhanger and decorator. The view in this image would later to blocked with the construction of the electricity works and connected tram depot.
This image is from an album of photographs held by Aberdeen City Libraries detailing the construction of the Dee Village Electricity Works between 1901 and 1903. Union Street
2939 A postcard image looking east up Union Street from the junction with Bridge Street. Pratt & Keith and the Palace Hotel can be seen on the right. The auction room of R. J. Mackenzie and premises of William Young, fine art dealer, can be seen at the back of Belmont Street on the left of the image.
The postcard also features the coat of arms of Aberdeen. Aberdeen Theatres: Aberdeen Arts Centre
3386 In 1960 the education committee of Aberdeen Town Council proposed the conversion of the empty North and Trinity Parish Church into an adult education and civic arts centre. The plan was given final approval in February 1961, much to the delight of Aberdeen's art enthusiasts.
The Evening Express detailed the need for such a venue at the time by describing the difficulties faced by the William Gavin Players, a local drama group, in staging a play earlier that week in the ballroom of the Music Hall. They had to overcome the roar of a nearby wrestling audience, the incessant ringing of an unanswered telephone, a cramped stage and poor acoustics.
A temporary restriction on capital expenditure and a particularly severe winter caused delays for the conversion. Work began in late 1961 and was concluded by the autumn of 1963. The work cost around £33,000 and saw the reconstruction of the interior and a thorough re-vamp for the building's exterior. At one point the new centre was going to be called Longacre, but this idea was scrapped in favour of Aberdeen Arts Centre.
The completed venue was opened on 18th October 1963 by Sir Herbert Read (1893-1968), an art critic, poet and anarchist philosopher. In his speech Read criticised the main political parties of the day for neglecting the development of the arts and the human imagination in favour of a blind drive for scientific and technological efficiency.
In addition to the 385-seat auditorium, the venue had an exhibition space, a lounge, and a tea bar. The Arts Centre has remained the focal point for local arts groups and arts education to this day. It has also served as a meeting place and provided a useful stage for theatrical productions of all types.
In 1998, facing the need to cut £17.5 million from their budget, Aberdeen City Council withdrew their funding from the Arts Centre. This left the future of the venue in danger. A popular campaign to avoid its closure was led by Annie Inglis MBE (1922-2010), Aberdeen's first lady of theatre.
This led to the Aberdeen Arts Centre Association taking over the venue on a voluntary basis and the eventual formation of the Castlegate Arts Limited, a company with charitable status who continue to run the venue today.
Over the years the Arts Centre has played host to many noted local theatre groups like the Attic Theatre Co., The Revue Group, the aforementioned William Gavin Players, Phoenix Theatre, the Gilbert & Sullivan Society, Aberdeen Opera Company, Confederate Theatre, Dragongate Theatre, and no doubt many more. It remains a much-loved venue for performers and audiences of all ages. Aberdeen Cinemas: Electric / Capitol
3402 A photograph showing the Capitol façade in January 2021.
By the 1960s and 70s the Capitol was increasingly being used as a venue for live events. Michael Thomson credits its survival over the Majestic, closed down in September 1973, as due to the Capitol's superior stage facilities. The Donald family, the venue owners, had the stage enlarged in 1975.
Appearances by popular groups like the Bay City Rollers in 1974 suggested the future for the venue at the time. The Capitol also saw performances by the Rolling Stones, Roy Orbison, Queen, Boyzone and Chuck Berry among many others. The Capitol ceased showing films in 1995.
The Capitol contained a restaurant, and subsequently bar, in the cinema's former café area around this period. 1993 saw the opening of the Art Deco and cinema themed bar Oscars in this space.
The Capitol functioned as a wonderful venue giving North-East audiences the chance to see top performers for many years. It became increasingly uneconomic to run and the curtain finally came down on the venue on Monday 15th December 1997.
The building was later converted into a nightclub and restaurant called Jumping Jaks and the Chicago Rock Café that opened in around 2003. These closed down in 2008 and the Capitol laid empty for some time.
In 2013 Knight Property Group began plans to redevelop the site as a modern office complex. The £30m project retained and restored the cinema's original façade and employed an Art Deco style in its foyer entrance to reference the history of the building. The venue's auditorium that had been much altered and had fallen into disrepair was demolished. The launch of the new office complex was held on 10th June 2016. 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. 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] Marischal College c. 1741
66 The original Marischal College, architect William Adam of Edinburgh, was built in 1741 and demolished in 1840. The building was entered from the gateway on the Broadgate. The Public School occupied the ground floor of the principal building, the Public Hall was on the next floor, and the Library on the third. The wings contained lodgings for three of the Professors, the Divinity Hall and extra classrooms. There was a fine heraldic ceiling in the Public School but it was destroyed in 1836/40 when the old college was taken down to make way for the new building. Treasure 44: Historic Children's Literature Collection
213 This month we feature beautifully illustrated children's literature from our historic collections to mark World Book Day on 3 March 2016.
World Book Day is a celebration of authors, illustrators, books and - most importantly - it is a celebration of reading. It is designated by UNESCO as a worldwide celebration of books and reading, and marked in over 100 countries all over the world. The main aim of World Book Day in the UK and Ireland is to encourage children to explore the pleasures of books and reading by providing them with the opportunity to have a book of their own.
Little Ann and Other Poems illustrated by Kate Greenaway is a first edition, published by George Routledge & Sons c. 1883. It contains 42 poems all illustrated in her charming style of dainty children dressed in typical Greenaway costume.
Catherine "Kate" Greenaway (17 March 1846 - 6 November 1901) was an English artist and children's book illustrator
Online resources Britannica Encyclopaedia provides a brief biography of Kate Greenaway:
"The daughter of John Greenaway, a draftsman and wood engraver, Kate Greenaway grew up in various residences, including a farmhouse in Nottinghamshire, and studied art in various places, including London. She began to exhibit drawings in 1868, and her first published illustrations appeared in such magazines as Little Folks. In 1879 she produced her first successful book, Under the Window, followed by The Birthday Book (1880), Mother Goose (1881), Little Ann (1883), and other books for children, which had an enormous success and became very highly valued".
Greenaway's work was praised by John Ruskin, a dear friend who said "her drawings are blissful just in the degree that they are natural; the fairyland that she creates for you is not beyond the sky nor beneath the sea but near to you, even at your doors. She does but show you how to see it and how to cherish".
In our collections we also hold a copy of 'Kate Greenaway Pictures: from originals presented by her to John Ruskin and other personal friends' from 1921.
"In 1890 Greenaway was elected to the Royal Institute of Painters in Water Colours, and in 1891, 1894, and 1898 she exhibited watercolour drawings, including illustrations for her books, at the gallery of the Fine Art Society (by which a representative selection was exhibited in 1902). From 1883 to 1897, with a break only in 1896, she issued a series of Kate Greenaway's Almanacs."
The Kate Greenaway Medal, established in her honour in 1955, is awarded annually by the Chartered Institute of Library and Information Professionals in the UK to an illustrator of children's books.
Treasure 54: On the Planting of Trees in Towns
229 Aberdeen was something of a pioneer when it came to the planting of street trees in Scotland. An article on the subject in the Aberdeen Journal from 1905 states: "As is constantly remarked by visitors, Aberdeen has great reason to be proud of its trees. In some respects, it can, in this direction, show the way to other Scottish cities."
Alongside St. Andrews, Aberdeen led the way in the extensive and effective planting of trees on city streets. This was largely due to the work of Aberdeen's first park superintendent, Robert Walker. The 1905 article states: "To those who know Mr Walker only as the busy man in charge of Victoria and Westburn Parks, the Union Terrace Gardens, the Links, and the grounds of Robert Gordon's College, the fact of his being an author may be new, but it is something to which Mr Walker can look back with pride, because the publication of 'On the Planting of Trees in Towns' was the means of stimulating the movement for tree-planting, not only in Aberdeen, but also in a good many more places in Scotland."
Walker's book, printed in 1890 at the University of Aberdeen, consists of two papers read before The North of Scotland Horticultural Association in 1889. The volume was issued by the two Aberdeen members of Mr Ruskin's Guild of Saint George after a strong request to publish was made by those unable to attend Walker's lectures. The book argues that trees should be planted not just in parks, but in city streets too: "The slight good effected by fine parks placed here or there towards the outskirts of a city is as nothing to what might be carried out by so planning and planting streets and roads, that the air might be comparatively pure and free, and the eye refreshed with green at almost every point."
The Aberdeen Journal states that the value of the book is "very much materially enhanced by illustrations of a number of our best-known trees from drawings from Sir George Reid, lithographed by Messrs Thomson and Duncan." George Reid (1841-1913) was a nationally renowned Aberdeen-born painter. A year after the publication of the book, in 1891, he was elected as the president of the Royal Scottish Academy and knighted by Queen Victoria. In 1905 he played a significant role in the extension of Aberdeen Art Gallery, determining the layout and contents of the building. He died at his home in Somerset in 1913 and was buried in St Peter's Cemetery, Aberdeen.
On the publication of Walker's book a copy was send to keen arboriculturist and habitual Prime Minister William Ewart Gladstone. The 1905 Aberdeen Journal article reports that, in his acknowledgement of the gift, Gladstone wrote that "he would read the book with the greatest pleasure, the subject being one in which he took a special interest." At the time, the post card with acknowledgment could still be seen framed in Mr Walker's house. The Journal article also states that the book has been unobtainable for a long time but that a copy is available to view at the Reference Department of the Public Library. Over a hundred years later this is still correct and the item now sits in our Local Studies collection.
"Trees not only afford shade and shelter," states Walker's book "but adorn the landscape and purify the air. They improve the heart as well as the taste; they refresh the body and enlighten the spirit. And the more refined the taste is, the more exquisite is the gratification that may be enjoyed from every leaf-building tree." Treasure 91: Aberdeen Art Gallery Ephemera
310 As the refurbishment of Aberdeen Art Gallery continues this is an opportunity to feature a selection of ephemera held in the Library collections reflecting some aspects of its history. The full history of the Gallery is documented in Jennifer Melville's book, Aberdeen Art Gallery - A History, published in 2010. The Aberdeen Daily Journal of 10 April 1905 described the opening of the handsome new Sculpture Gallery and the enlarged art galleries by distinguished artist Sir George Reid as "an important stage in an epoch-making period in the history of Aberdeen's connection with art". Sketches of the proposed new Sculpture Gallery appeared in the Aberdeen Daily Journal on 27 January 1903 but it was not until 8 April 1905 that the official opening took place. In the Library collections we hold a number of items which describe the events of that day. The Programme of Proceedings with its beautifully illustrated front cover gives the order of speeches and music selections for the occasion.
Find out more about the Art Gallery in the Treasures from our Collections interactive exhibition on the touchscreen. Treasure 97: Aberdeen Grammar School Art Club
316 The work of the Aberdeen Grammar School Art Club can be seen in the collection of sketch books held in Local Studies for the years 1920 - 1923 and 1926 & 1928, and as supplements in some of the school magazines which also describe the early activities of the club.
The Art Club was started by the enthusiastic Art Master, C.R. Leslie Millar, in 1917. There was an initial membership of 25 boys with H. Morgan acting as Secretary, who was later complemented for his delightful posters and sketches on the notice boards. The club would go out sketching on Saturdays from mid-May and throughout June, working in pencil, oils, water-colours and pastels.
The first sketch book was produced for Christmas 1919 with introductory club notes. It's a tribute to the art masters that they did much to develop the appreciation of art and encourage individual talent among the pupils. The work of the club was favourably commented on by His Majesty's Inspectors and at the Aberdeen Artists Society Exhibition in December 1921 two club members were successful in having pictures accepted.
Have a look at some fine examples of the art club's sketches in the Treasures from our Collections interactive exhibition on the touchscreens.
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