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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. St. Nicholas Street, Aberdeen. 1898
363 This image taken in 1898, shows two prominent Aberdeen citizens crossing St. Nicholas Street under the watchful gaze of a statue of Queen Victoria. The building behind them was then the Town and County (now Clydesdale) Bank. These two individuals were lifelong friends and both came from a poor background, however their industry and intelligence, combined with self education led to their successful careers. William Cadenhead on the left began work in a thread factory but later became a traveller for a wine and spirit merchant, eventually succeeding to the business. He died on 11th December 1904 aged 85. William Carnie on the right was apprenticed as an engraver, but his ambition to write for newspapers was fulfilled when he began on the North of Scotland Gazette. However in 1861, he was appointed as Clerk and Treasurer of Aberdeen Royal Infirmary and the Royal Lunatic Asylum. After his retirement he wrote three volumes entitled Reporting Reminiscences covering the period 1850 - 1876, recollecting local events and people he knew. He died on 2nd January 1908 aged 83. St. Mary's Chapel, St. Nicholas Church
366 A photograph of St. Mary's Chapel at St. Nicholas Church in around 1898.
Historic Environment Scotland's listed building information suggests this lower church was built in 1438. It was part of the 15th century expansion of St. Nicholas and located to the east of the then existing building. The main church was subsequently expanded eastwards over it.
Work was completed on the crypt in around 1507 and it was dedicated to the Virgin as Our Lady of Pity, from which derives the various names it has been known over the years; Pity Vault, the Cell of Our Lady of Pity, and St. Mary's Chapel.
The space has served many purposes since its creation and seen a number of renovations. It has been a general storehouse for sundry municipal items, including the gibbet, a plumber's shop, a public soup kitchen, a meeting place of the presbytery of Aberdeen, and a regular church.
More can be read about the chapel in Old Landmarks of Aberdeen (1885) by G. Gordon Burr and Alex. M. Munro, The Story of St. Mary's Chapel: The Ancient "Lower Church" or Crypt of St. Nicholas (1935) by The Rev. J. G. Grant Fleming and in the history section of the St. Nicholas Church website. Rubislaw Terrace, Aberdeen
709 Rubislaw Terrace, Aberdeen in around 1880. This photograph by George Washington Wilson shows the granite splendour of this terrace, which was planned by the architects Thomas Mackenzie and James Matthews, jointly with James Giles, artist.
The houses were to be erected on the property of James Skene of Rubislaw, on the north side of Albyn Place. The Aberdeen Journal of 31st March 1852 describes the plans as thus: "The style of architecture possesses in a high degree the rare merit of combining what is new, at least in Aberdeen, with what is, in point of taste exceedingly beautiful".
The houses have crowstepped gables and plain windows alternating with bow windows which have a balustrade, and had 11-15 rooms.
In 1854, James Matthews actually lived there, and later occupants included a paper manufacturer, a ship owner, and a number of advocates.
Today, many of the houses have been converted into offices for legal firms. Granite balustrades and a garden area separate the terrace from Albyn Terrace. Wellington Lodge
811 A photograph showing Wellington Lodge on the corner of Justice Mill Lane and Holburn Street.
The top of Holburn Street, towards Holburn Junction, was previously known as South Street and later as Wellington Place. In the background of this image, on the far left, can be seen the John Smith designed Water House on Union Street.
Wellington Lodge stood across the road from Holburn Church, roughly where the Glentanar Bar stands today. It can be seen on the large scale Ordnance Survey town plan and map sheets from the 1860s.
The property appears to have belonged to the Whytes of Dalhebity, Cults. For some time Wellington Lodge was the residence of Helen Whyte and she was likely the house's final resident.
Helen Whyte died aged 85 on 31st January 1898 (death notice: Aberdeen Weekly Journal, 09/02/1898, p. 4). Newspaper references suggest she was involved in various charitable activities. She was the daughter of Baillie John Whyte, a merchant, and had a brother also called John Whyte (1845-1904), a prominent citizen and advocate.
Another death notice indicates that Mary Ann Hardie, of 48 Victoria Road, Torry, was employed for 38 years as the servant for Miss Helen Whyte. Hardie died in 1895 (death notice: Aberdeen Journal, 17/08/1895, p. 4).
Newspapers also suggest the villa was the home of Miss Mary Murray Gordon. She would likely have been a relation of James Murray Gordon who was a partner in the same law firm as John Whyte, Helen's aforementioned brother.
Wellington Lodge was probably demolished shortly after the death of Helen Whyte. It made way for the extension of the larger tenement buildings on Holburn Street that can be seen in the background of this photograph.
The Aberdeen Weekly Journal's 'Granite Chips' column of 17th May 1899 (p. 9) states "A very large and handsome block of buildings for Mr Peter Farquharson has been erected in Holburn Street, stretching from the office of the Union Bank of Scotland to Justice Mill Lane." This most likely refers to this development.
David Miller in Archibald Simpson, Architect, His Life and Times 1790-1847 (2006) states that this villa was designed by Simpson for Mrs Yeats of Auquharney (page 174). Westburn Park and House in 1910
2122 Westburn House was designed in 1839 by the architect, Archibald Simpson, for David Chalmers of the printing family who published the Aberdeen Journal newspaper.
It is a single storey building, with a 2-storey centre gable at the north and a portico of Doric pillars on the west side. It is constructed of brick with a stucco finish.
The 25-acre estate was bought by Aberdeen Town Council in 1900. The lands, which had in early times been used for sheep grazing, were now converted into a public park. The vegetable garden became a recreation ground; the stables and carriage sheds now stored tools; the walled flower garden and orchard were laid out as a bowling green. A pond was created from the burn which runs through the grounds.
The house was first used as refreshment rooms and the veranda, with its wrought iron columns, was added to allow people to enjoy their teas and coffees in the open air. Since then, it has had many uses including a clinic and meeting place for playgroups. Its future is currently under discussion by the City Council.
Westburn Park opened to the public in around May 1901. See Aberdeen Journal 11th May 1901, page 4, and articles thereabouts, for details. There does not appear to have been an official opening ceremony. Milk from the Kirkhill Dairy
2236 Milk being delivered by two milk boys on Victoria Road, Torry. The milk came from the Kirkhill Dairy, Balnagask. The photograph shows a horse drawn cart.
Ian Smith has kindly been in touch to inform us that the man behind the cart is his grandfather, Albert Corbett. He ran Kirkhill Farm for much of his life.
The golden anniversary of Albert and Georgina Corbett (née Todd) was reported in the Press & Journal of 9th September 1970, page 18. The article explains that the couple had left South Kirkhill Farm, where Albert had farmed for 47 years, the previous year, moving to 28 Leggart Terrace.
They met when Georgia, an Aberdonian, moved to Fraserburgh. Albert worked on his family's nearby farm, called Watermill, and delivered milk to Georgina's landlady.
After marriage, and before moving to Balnagask, the couple lived in Strichen and ran a diary there. The article concludes stating, both aged 71, Albert and his wife had two daughters, named Mrs Irene Smith and Mrs Ethel Douglas, and three sons, Bert, James and Alistair. They also had nine grandchildren.
A family notice from the 10th January 1978 issue of the same newspaper states that Albert B. D. Corbett had died after a short illness, aged 79, the day before. A service was held for him on the 12th of that month at the Aberdeen Crematorium, Hazlehead (West Chapel).
Ian also checked with family members and informs us that the boy on the right in this photograph is Andy Cowe, who later moved to Seattle, USA, and on the left is Jocky Milne.
The Ordnance Survey, 25 inch to the mile, map of Balnagask published in 1899 indicates that there was once three houses called Kirkhill in the area; North, South and East.
South Kirkhill was located on the south side of Balnagask Road, a bit to the east of Balnagask House and Mains. East Kirkhill was not far to the east, on the other side of St. Fittick's Road and North Kirkhill was up towards Greyhope Road.
Later maps tell us that the original South Kirkhill was demolished by the early 20th century and by the 1950s East Kirkhill had taken its name. None of the residences remain today, the area of North Kirkhill is now part of Balnagask Golf Club and St. Fittick's Community Garden is now roughly where East (later South) Kirkhill once stood. North Kirkhill used to be the home of the greenkeeper of the golf course.
The use of the name Kirkhill likely refers to the nearby old St. Fittick's Church and the hilly terrain of Balnagask and Torry. Victoria Road
2251 Victoria Road was one of the first streets in the development of New Torry in the late 19th century. As the population of Aberdeen rapidly increased and advances were made in fishing technology there was a need for more housing in Torry.
The Torry Land Association controversially bought the land that had previously been occupied by Torry Farm and began work on what would become the main street in Torry.
The first houses, Nos 104 and 110, were built by Calder Duncan and David Alexander around 1883. These villas have since however been replaced with the type of granite tenements that dominate the area.
In this image the No.43 electric tram is clearly seen on its way from Guild Street to St. Fittick's Road. Torry was one of the last places in Aberdeen to get a tram line, the route being opened in 1903. Tram rosettes are still visible on the frontage of many of Torry's tenements today. The rosettes are where overhead power lines for the trams were fixed into the walls. The last tram to Torry ran in a blizzard in February 1931.
In addition to gas lamps, Victoria Road was home to many notable residents over the years. These include Dr Laura Sandison who ran a clinic on the street. She was a pioneering woman doctor, politician and a mentor to Mary Esslemont. Sandison was known to residents of Torry and beyond for always riding her bicycle and in her Press and Journal obituary in 1929 she was described as "the best loved woman in Aberdeen." Victoria Road
2252 Victoria Road was one of the first streets in the development of New Torry in the late 19th century. As the population of Aberdeen rapidly increased and advances were made in fishing technology there was a need for more housing in Torry.
The Torry Land Association controversially bought the land that had previously been occupied by Torry Farm and began work on what would become the main street in Torry.
This view taken from the junction with Menzies Road shows the Victoria Bar on the corner. This is reputed to be the old site of the Torry Farm duck-pond.
The first houses, Nos 104 and 110, were built by Calder Duncan and David Alexander around 1883. These villas have since however been replaced with the type of granite tenements that dominate the area.
In this image the No.43 electric tram is clearly seen on its way to Guild Street from St. Fitticks Road. Torry was one of the last places in Aberdeen to get a tram line, the route being opened in 1903. Tram rosettes are still visible on the frontage of many of Torry's tenements today. The rosettes are where overhead power lines for the trams were fixed into the walls. The last tram to Torry ran in a blizzard in February 1931. One of the road's historic gas lamps can also be seen on the near right.
Victoria Road was home to many notable residents over the years. These include Dr Laura Sandison who ran a clinic on the street. She was a pioneering female doctor, politician and a mentor to Mary Esslemont. Sandison was known to residents of Torry and beyond for always riding her bicycle and in her Press and Journal obituary in 1929 she was described as "the best loved woman in Aberdeen." Willie Grant
2630 A portrait of Blind Willie Grant taken from East Neuk Chronicles by William Skene (1905). Grant was a pianist who would accompany performers at regular "free-and-easies" held on Thursday and Saturday nights in the Wallace Tower and Mother M'Cuag's Caledonian Hotel on Castle Street. According to Skene, whatever the song, Willie could accompany it.
Skene states that "It was not a bad job when these free-and-easies were stopped, as there was a fascination about these places that had an insidious effect on young men that was not easily shaken off, as I knew by experience." (page 35) Hamilton Place, Looking West
2732 A postcard of Hamilton Place likely dating from the early 20th century. The view looks west from the juntion with Westfield Road. The house on the left foreground appears to be 8 Hamilton Place. A small part of 3 Hamilton Place can be seen across the road.
Correspondent Urlan Wannop, a former resident at 41 Hamilton Place, shared his memories about this place:
"My family lived in Hamilton Place between 1935 and 1948. The trees have since been removed, but on warm summer evenings we played ball games in the street before cars became prevalent. The trees stood in for stumps for games of cricket. In wartime, snow clearance for the very few motor cars and steam powered coal delivery wagons meant walls of snow at the pavement edge. I still have weights cast from lead left when all garden railings were removed in an abortive attempt to build tanks and ships for the war effort. (...)
[The] photograph precedes the wartime removal of railings. For historical record, the photograph was possibly taken in the 1920's, judging by the motor car in the background, the presence of the railings and the trees being less fully grown than in the days when they stood in as wickets for street games of cricket.
No sign of the knife grinders, bicycles of visiting French onion sellers nor of the street singer that progressed down Hamilton Place. All disappeared except from my memory.
The wartime Lord Provost, Tommy Mitchell - of Mitchell and Muil, the bakers - lived in a house at the near left; my Headmaster at the Grammar School, JJ Robertson, lived in one at the near right. Like me, he would walk to school down Craigie Loanings". Bonnymuir Bowling Club
3106 A group portrait showing the management council of Bonnymuir Bowling Club in 1924. The photograph was taken by Alexander Ledingham, who ran a studio at 101a Rosemount Place for many years.
This print is attached to a larger board which identifies all the figures present:
Standing: W. H. Davidson, G. Cooper, C. B. Garrioch, J. S. Taylor, A. Craig, W. Allan, C. D. Davidson, A. Milne, J. Reid, W. Tocher, J. M. McFarlane, J. Rigg, J. M. Ross.
Sittings: J. Gordon, A. G. R. Weir, R. Cameron (Treasurer), J. M. Begg (Vice-President), G. H. Simpson (President), P. Scott, E. Swan (Secretary), H. Reid, A. Matthews.
The green is located to the west of Bonnymuir Place and was previously a garden area. The land was given to the community to serve as a bowling green in the early 1920s. This image was used in Old Rosemount (2015) by Patricia Newman and this book gives a short account of the formation of Bonnymuir Bowling Green Ltd. and its initial fundraising.
The bowling club closed down in 2015. A group of local residents have subsequently formed the Bonnymuir Green Community Trust with the aim to develop and use the site of the former green as an asset, owned by and operated for, the benefit of the community. Well of Spa
3108 A photograph of the Well of Spa in around 1969 at its second location, on Spa Street, in the western periphery wall of Woolmanhill Infirmary. This site is still identifiable today by the curving recess in the low wall and the now leveled out supporting wall, both shown in this image.
A digital copy of this image was kindly given to Aberdeen Local Studies by our colleagues in the Masterplanning, Design and Conservation Team.
It was the then Department of Planning and Building Control that oversaw the restoration and relocation of the structure to its current site outside Denburn Car Park in 1976/77. The plans were drawn up by Aberdeen City Council planner John Soutar. In reference to the well's Woolmanhill location he was quoted in the newspaper saying "The Victorians were great for shifting things and they weren't fussy where they put them."
The stone structure, which was built in around 1635, was previously located on the western side of Spa Street, in front of Garden-Nook Close. This location can be viewed on the 1867 Ordnance Survey town plan of Aberdeen (sheet LXXV.11.12) and in other photographs on this site.
The 1970s restoration and relocation of the well was advocated by councillor Frank Magee. The project, estimated to cost £4,500, was met with opposition and it was only given the go-ahead after considerable debate.
The restoration of the well was carried out by a masonry firm, based in Birnie, called Moray Stonecutters. It was temporarily transported to Elgin for the work. An additional £4,500 was spent in the creation of a new garden surrounding the well by a Job Creation team. It was called the Four Neukit Garden in reference to the old amenity gifted to Aberdeen, along with the original stone structure, by the portrait painter George Jamesone.
Coverage of work on the well can be read in local newspapers from the time. The finishing touches on the well's final relocation were reported in the Evening Express of Saturday, 22nd October 1977, page 16. Aberdeen Cinemas: Picture House / Gaumont
3404 Silver Screen in the Silver City (1988) by Michael Thomson explains that by 1950 the Picture House was owned by the Rank Organisation. The British entertainment conglomerate had acquired various cinema exhibition companies: British-Gaumont, Odeon, and the Provincial Cinematograph Theatres (successor company to Associated Provincial Picture Houses). As part of business rationalisation, on 22nd March 1950 the Picture House was rebranded as The Gaumont.
Thomson's Silver Screen indicates that the Gaumont's vertical neon sign dates from the time of the rebranding. In 1956 the design of the cinema was further updated. This saw the introduction of the illuminated canopy and use of the beech design shown here in the redeveloped interior and exterior, replacing the pillars of the Picture House era. A new marble backed fireplace replaced the old one that had been a well-known feature of the cinema since its opening in 1914. The projection equipment and seating were also modernised. This night-time image from the Aberdeen Journals Archive accompanied an article about the Gaumont's new look in the Evening Express of 19th April 1956.
The image shows promotion for a number of films on the cinema's updated exterior: The Rose Tattoo with Burt Lancaster and Anna Magnani, Flight from Vienna and Aberdeen Photographic Service's presentation of A Photographic Review of the Royal Tour of Nigeria.
The manager at the time of the Gaumont's redesign was Mr. R. E. Miller. He had managed the cinema since January 1948. In early 1951 Miller converted the upstairs restaurant area, which had laid empty since 1928, into a gallery space. Known as the Gaumont Gallery, it was ideal for photographic exhibitions and was in frequent use well into the 1960s.
Thomson states that during this period Mary Garden, the retired opera singer who returned to Aberdeen in 1939, was something of a regular at the Gaumont. This well-known and much-loved figure would be escorted to her seat by the cinema's commissionaire George Repper, who was also a popular and familiar figure. Repper worked at the Gaumont from 1940 to 1964 and his job was to shepherd queues, attend to patrons and ensure all progressed smoothly.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson]
Image © Aberdeen Journals Ltd. 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: City
3431 An Aberdeen Journals Archive photograph of the City Cinema on George Street in 1963. The cinema is showing a war film called Battle of the Beach starring Audie Murphy.
The City Cinema at 197-199 George Street was opened by Aberdeen Picture Palaces on 4th November 1935. The building, the main part of which was tucked away behind George Street, was designed by Thomas Scott Sutherland.
Michael Thomson in Silver Screen in the Silver City explains that until after the second world war, the City's stock and trade was showing second-runs and lesser features from the programmes of up-town cinemas. The City was also popular with Aberdeen's crowds of holidaymakers in the 1930s. See Thomson's book for more on the design and history of this cinema.
The final film shown at the City was Sign of the Pagan on 20th July 1963. The venue was then converted at a cost of £300,000 into a two-floor bowling alley. Originally called ABC Bowl (later known as the Aberdeen Bowl, Super Bowl and Mega Bowl), it opened on 1st May 1964 with celebrity guests Oliver Reed, Jess Conrad and Julia Foster.
The bowling alley, and with it what remained of the City cinema, was demolished in 2007 to make way for an apartment block and the Hilton Garden Inn hotel.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson]
Image © Aberdeen Journals Ltd. Sheddocksley House
3837 A photograph of Sheddocksley House taken from The Freedom Lands and Marches of Aberdeen 1319-1929 compiled by Donald B. Gunn (1929).
Old maps indicate that this house was likely demolished sometime in the mid-20th century. It was located just to the north east of the square of houses at the top of Lerwick Road in modern day Sheddocksley. A walled garden was located to the east of the old house.
The above book, known as The Blue Book, states that the estate of Sheddocksley, once part of Aberdeen's Freedom Lands, was feued in 1551. Gunn elaborates with the following:
"Sheddocksley was feued to John Irvin and Gilbert Tullideff at a feu duty of £53 6d. 8. Scots. It was bought back by the Town in 1677 and re-feued in 1702. Fifty-seven years later it was again acquired by the Town and alienated a third time shortly afterwards. It has been much sub-divided in these processes, Gillahill, Newpark (Cuttle Hill), Whitemyres and Maidencraig being among the main divisions." (page 13). Queen's Cross in 1911
4271 A photograph showing the procession organised in Aberdeen to celebrate the coronation of George V (1865-1936) and Queen Mary (1867-1953). The image shows the procession passing north up St. Swithin Street and across Queen's Cross. A number of trams and horse drawn gigs are shown outside the lines of spectators.
This photo is taken from the Aberdeen Bon-Accord and Northern Pictorial coronation souvenir number published on 12th May 1937, page 55. This special issue celebrated the crowning of George V's son, George VI (1895-1952) and Queen Elizabeth (1900-2002).
This photograph illustrates an article by journalist William Diack (1871-1942), part of a series looking at the changes in Aberdeen between the coronations of George V and VI. Diack's article is titled 'Scotland has witnessed Coming of New Age and the Triumph of Youth' and discusses the changing political scene in the city during the period.
The caption for this photograph reads as follows:
"This was the Aberdeen procession on June 22, 1911, the day of the Coronation of King George V and Queen Mary. The procession is just reaching Queen's Cross by way of St. Swithin Street, the photograph having been taken from the belfry of Rubislaw Parish Church. Note how the fashions have changed. Horses predominated then, this time motor vehicles will be in the majority. And women's fashions! Well, there's just no comparison possible." The Culter Mills Paper Company, 1981
4280 The chimney and entrance viewed from the treed bank at the rear of 1-7 St. Mary's Place, looking north.
This image is one of fifteen from a photographic survey of the exterior of Culter Paper Mills and nearby Kennerty Mill undertaken by John A. Souter in the summer of 1981. John kindly donated colour slides of these photographs to Aberdeen City Libraries.
The early history of the Culter Mills Paper Company can be read in the article 'Paper-making on Deeside (1750-1932)' by Alexander A. Cormack in The Deeside Field (sixth number, 1933) pages 36-45. This can be accessed at Aberdeen City Libraries. Scotstown House
4374 A postcard image looking north east towards the portico of Scotstown House. This substantial mansion stood in what is now East Woodcroft in Bridge of Don.
The house is described by David G. Miller in his book Archibald Simpson, Architect: His Life and Times 1790-1847 (2006) on pages 101-102. Miller states that the mansion was designed and erected by Archibald Simpson for the Moirs of Scotstown and Spital, the local landowners, in around the 1820s.
Simpson is also credited with its design in his obituary in The Builder magazine (8th May 1847, vol. 5, no. 222).
Miller states that the mansion was "abandoned by the Moirs and lay derelict for many years before finally being demolished in the 1930s." (Page 102).
Newspaper mentions indicate the property was in disrepair and due for demolition in the 1930s (see Press & Journal, 6th October 1933, page 3), but sources, including Aberdeen City Council's Historic Environment Record, indicate that at least part of the building stood as a ruin until full demolition in the 1980s. Rubble was subsequently removed from the location in 1999. Some garden walls remain in situ.
As indicated in the top right, this postcard was published by a person or company abbreviated to "D. F. McK." This postcard likely dates from the early 20th century. Scotstown House
4375 A postcard image looking north towards the southern elevation of Scotstown House. This substantial mansion stood in what is now East Woodcroft in Bridge of Don.
The house is described by David G. Miller in his book Archibald Simpson, Architect: His Life and Times 1790-1847 (2006) on pages 101-102. Miller states that the mansion was designed and erected by Archibald Simpson for the Moirs of Scotstown and Spital, the local landowners, in around the 1820s.
Simpson is also credited with its design in his obituary in The Builder magazine (8th May 1847, vol. 5, no. 222).
Miller states that the mansion was "abandoned by the Moirs and lay derelict for many years before finally being demolished in the 1930s." (Page 102).
Newspaper mentions indicate the property was in disrepair and due for demolition in the 1930s (see Press & Journal, 6th October 1933, page 3), but sources, including Aberdeen City Council's Historic Environment Record, indicate it stood as a ruin until full demolition in the 1980s. Rubble was subsequently removed from the location in 1999. Some garden walls remain in situ.
As indicated in the bottom left, this postcard was published by a person or company abbreviated to "D. F. McK." This postcard likely dates from the early 20th century.
The rear of the postcard features a 1909 date stamp, green half penny Edward VII postage stamp, and was sent by a "J. C. W." to a Miss M. McKenzie of 37 Summerfield Terrace, Aberdeen. Bowman & Webster, Cork Manufacturers
164 A receipt from Bowman & Webster, Cork Manufacturers & Bottle Merchants. The document dating from 21st April, 1916 features illustrations of the premises at 8 & 10 South Constitution Street and lists other offices in Dundee and Sevilla, Spain. The receipt is for the purchase of beer corks by the Douglas Arms Hotel in Banchory.
The business of Bowman & Webster had a long history in the City of Aberdeen. It was initially a partnership between Thomas Bowman and Fred Webster. The partnership was dissolved in 1901, with Bowman leaving, but the company retained its original name throughout its history.
Thomas Bowman died suddenly, aged between 40 and 50, on 28th August 1905 and his obituary can be read in the next day's Aberdeen Journal. Like his father and grandfather he had joined the army and served in North India with the Gordon Highlanders.
Fred Webster and his son ran the business after the departure of Bowman. A descendant of the family has been touch and explained that both had troubled lives and died relatively young. The business was then taken over by John Webster, Fred's brother, in 1925.
The obituary of Fred Webster can be read in the Press & Journal of 25th June 1924. In addition to describing his successful business and work in Spain, the article describes him as follows:
"A man of genial disposition, Mr Webster was exceedingly popular with all who knew him. He was a keen bowler and a member of the Northern Bowling Club. For many years Mr Webster was a well-known pigeon fancier and breeder, and won prizes all over the country, including Crystal Palace, and his services were often in request as a judge."
Before taking over the business, John and his wife had spent twenty years living and working in Canada. Fred willed the company to a daughter of John's called Evelyn. John successfully ran the business as its Managing Director until his death on 8th November 1961, aged 78. He was a life-long member of the Thistle Swimming Club and lived at 122 Desswood Place.
John's son, Edwin John Webster, then ran the business until it closed down in the later 20th century. The growing influence of large brewers made business and survival more difficult for local companies involved in the licensed trade.
Edwin John Webster died, aged 78, on 30th September 1990.
Many thanks to Michael John Webster (from Angus), son of Edwin, for providing us with additional information about the family and business. Treasure 29: The Snow Queen and Hans Christian Andersen
202 Hans Christian Andersen wrote 'The Snow Queen' in 1844. Aberdeen City Libraries hold a number of interesting resources relating to the author. Perhaps the most notable is a 1926 reprint of his autobiography 'The True Story of My Life' translated by Mary Howitt and published by George Routledge & Sons.
Born in Odense, Denmark in 1805, Andersen wrote three autobiographies during his lifetime. 'The Book of My Life', written in 1832 aged 27, was for close friends, the Collin family, and was not intended for publication. 'The True Story of My Life' in 1846 was to accompany a German edition of his collected works and his final autobiography, 'The Fairy Tale of My Life', was published in 1855.
Mary Howitt (1799-1888) was an English author who came to prominence as a translator of Scandinavian literature, in particular eighteen volumes of the Swedish novelist Frederika Bremer (1842-1863) and many translations of Hans Christian Andersen. In the 1926 preface to 'The True Story of My Life' Scottish author and poet, Violet Jacob, claims that Howitt's "precise and innocence English" is the ideal vehicle for conveying Andersen's writing. It was through Howitt's translations that the English speaking world first came to know Andersen's work.
Howitt dedicates her translation of 'The True Story of My Life' to the Swedish opera singer Jenny Lind (1820-1887). Lind was world famous for her immaculate voice, generosity and strong religious convictions. She and Andersen were good friends. When Lind rejected Andersen as a suitor she became the model for the Snow Queen with a heart of ice. Their friendship endured nonetheless and in 'The True Story of My Life' Andersen explains the central influence Lind had on his work: "Through Jenny Lind I first became sensible of the holiness there is in art; through her I learned that one must forget oneself in the service of the Supreme. No books, no men have had a better or a more ennobling influence on me as the poet, than Jenny Lind, and I therefore have spoken of her so long and so warmly here."
The autobiography also contains other glimpses into the inspiration behind 'The Snow Queen'. For example, Andersen's childhood surroundings are said to have inspired the roof top garden on which the story's heroes, Gerda and Kai, first meet and become friends: "Our little room, which was almost filled with the shoemaker's bench, the bed, and my crib, was the abode of my childhood; the walls, however, were covered with pictures, and over the work-bench was a cupboard containing books and songs; the little kitchen was full of shining plates and metal pans, and by means of a ladder it was possible to go out on the roof, where, in the gutters between and the neighbour's house, there stood a great chest filled with soil, my mother's sole garden, and where she grew her vegetables. In my story of the Snow Queen that garden still blooms." 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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