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The Castlegate and Market Cross
486 Painting of the Castlegate featuring the Market Cross. The Market Cross was designed by John Montgomery in 1686. The Cross was moved to this location in the Castlegate in 1842. Exchequer Row
687 This view shows the narrow congested Exchequer Row, around 1900. It is a photograph of a watercolour painting by Alexander J. Murray that is in the collection of Aberdeen Archives, Gallery and Museums (AAGM).
The Balmoral style tower of the Salvation Army Citadel, opened in 1896, is seen in the distance with the Market Cross surrounded by an ongoing market.
Exchequer Row (first mentioned in 1350) was a short street connecting the Shiprow to the Castlegate, and on its right side, were a number of courts leading into an area crammed with insanitary dwellings which were later demolished.
It was popularly supposed that the name Exchequer Row derived from the Aberdeen Mint which stood in the area. However, it comes from the name of the Royal Customs House - the Skakkarium, dating back to the 14th century. Arrival of Queen Victoria and Prince Albert
1996 The arrival at Aberdeen Harbour in September 1848 of Queen Victoria and Prince Albert. The original of this painting by the artist Peter Cleland is now in the possession of Aberdeen City Council. The Royal Family had traveled from London on the Royal Yacht - a wooden paddle steamer called 'Victoria and Albert', with the intention of berthing at Aberdeen and then proceeding by coach to Balmoral. The City's careful arrangements were thrown into disarray when the vessel made such good time under Captain John Cargill that she arrived on Thursday 7th September 1848 - a full day ahead of her expected arrival on the 8th. By good fortune the Harbour Engineer happened to be supervising another vessel when he recognised the Royal Yacht arriving. So that he could arrange its safe mooring and send messages to the Lord Provost George Thompson, bells in the city were set ringing and crowds rushed to the harbour to see the Queen and prince Albert. James A. Ross
2018 A portrait of Harbour Treasurer James A. Ross situated in his office. On his desk can be seen a fine boxed barometer, while on the wall above the fireplace, there hangs a copy of a painting by Peter Cleland depicting Queen Victoria's first visit to Aberdeen in September 1848. John Ross of Clochan and Arnage
2033 A portrait of Provost John Ross of Arnage (1665 - 1714). He served as Provost of Aberdeen from 1710-1711. Provost Ross' House on Shiprow, later part of the Aberdeen Maritime Museum, was named after him. Ross died on 15th September 1714 while on business in Amsterdam and is buried in the English Church of that city.
This portrait is said to have been painted in 1685 by Sir John Medina (1659-1710). The painting is at Fyvie Castle and is owned by the National Trust for Scotland. A correspondent informs us that it was donated by the Leith-Ross family, and formerly hung in Leith Hall. James Cassie
2076 A Portrait of James Cassie, R.S.A., (1819-1879) by James Beattie-Scott. Born at Keithhall, Cassie was the son of James Cassie, a tea merchant, and Catherine, née Dawnie. His movement was impaired after a childhood injury and he subsequently dedicated himself to painting.
Cassie became a student of Highland scenery painter James Giles and settled in Aberdeen. In 1869 he was elected an associate of the Royal Scottish Academy and moved to Edinburgh, where he stayed until his death. Many of his works are kept in the Aberdeen Art Gallery. A School of Dolphins: Handy Andy at Ferryhill Library
2163 Every student of the class had a chance to design and contribute to the dolphin with no-one left out. Painting their hands and using bright colours helped achieve this. Also included is the Ferryhill School badge. A School of Dolphins: Eric at Central Library
2191 "Eric" replaced "Carnegie" and remained in the Central Library on the dolphin trail throughout June until the end of August. Eric was a tribute to artist Eric Auld FRSA (1931 - 24 December 2013) who supported the Wild Dolphins project but sadly passed away before painting a dolphin. 'Eric" is a collage of portraits and landscapes applied reflecting his stylistic brush strokes featuring some of his most iconic images mixed with original sketches of former students. Schoolhill
2269 The facade of Aberdeen Art Gallery and Gray's School of Art on Schoolhill. The Arts School was founded by John Gray, engineer, 'to promote education in drawing, painting, modelling, and all branches of art' and was built in 1885 next door to the Art Gallery and on the site of the old Grammar School. The architects were Matthews and Mackenzie who used a mixture of pink granite from Corrennie Quarry and sparkling white Kemnay Granite.
The gateway leads to Robert Gordon's College, founded by Robert Gordon, a Danzig merchant, and opened in 1750. It is now a co-educational private school. Gray's School of Art became part of the Robert Gordon University, and was re-sited to the Garthdee area in 1965. The statue in the foreground is that of General Charles Gordon who was killed at Khartoum. The statue was sculpted by T. Stuart Burnett, ARSA. This Gordon was unrelated to Robert Gordon. Castle Street, Aberdeen in 1812
2959 An Adelphi Series postcard with a reproduction of Hugh Irvine of Drum's painting of Castle Street in 1812.
The postcard was lent to Aberdeen City Libraries so that we could create a digital copy for public use. Matthews' Quay
3534 Photograph taken looking north-east from Albert Quay into the Tidal Harbour, with Matthew's Quay visible on the left.
Photo depicts the Aberdeen Floating Dock which was located near and around Pocra Quay. This floating dock is mentioned in an April 24th, 1911 article from the Aberdeen Press & Journal where it states that it was built by Messrs Vickers, Ltd. in Barrow from their Naval Construction Works. The article was written while the floating dock was en route to Aberdeen which dates the photograph to some time after April 24th 1911.
Another article from the Aberdeen P&J from the 13th of July 1909 details how the construction of this floating dock cost the Harbour Commissioners of Aberdeen £49,250.
This floating dock was used for the maintenance, repair and painting of vessels within Aberdeen Harbour. It was commissioned and then later constructed for the purposes of servicing vessels which were too large for the existing stationary Graving Dock. Ken
3770 A mural by artist KMG depicting of a multi-eyed being, understood to be called Ken, that is advocating respect. This painting is located in the East Green lane under one of the walkways connecting the Indoor Market and Union Street.
This photograph was taken in July 2018.
The Castlegate and Market Cross
65 Painting of the Castlegate featuring the Market Cross. The Market Cross was designed by John Montgomery in 1686. The Cross was moved to this location in the Castlegate in 1842. Irvine's view of the Castlegate
84 This view was painted by Hugh Irvine of Drum. The Market Cross is located opposite the Tolbooth and the structure on the right is the base of the street well, popularly known as The Mannie in the Green, because it was moved to The Green in 1852 and re-appeared in the Castlegate in the 1970s. It was the first public well erected in the city in 1706. St Nicholas Church
165 A painting of the fire which destroyed the lead and wood steeple of St Nicholas Church in 1874. Treasure 106: The Art of Illuminating
327 To further help celebrate the year of History, Heritage and Archaeology, we have on display this month some beautifully illustrated Victorian guides to medieval manuscript illumination:
- "The Art of Illuminating As Practiced in Europe from the Earliest Times." Selected & Chromolithographed by W. R. Tymms. With an Essay and Instructions by M. D. Wyatt Architect. (1860)
- "The Art of Illumination and Missal Painting. A Guide to Modern Illuminators". By H. Noel Humphreys. (1849)
- "Lessons in the Art of Illuminating. With Practical Instructions, And a Sketch of the History of the Art". By W. J. Loftie, B.A, F.S.A (1895)
One of the most iconic of all "Victorian" styles is that of the Gothic Revival. The idealistic and romantic ideas of chivalry, courage, modesty and beauty appealed to Victorian sensibilities. Furthermore, the rose-tinted notion of the Middle Ages as being an age of pastoral charm with knights in shining armour and damsels in distress, all cocooned in a nicely packaged and organised feudal system, served as an antidote to the rapid expansion and technological advances brought on by the Industrial Revolution. The new found interest in the study of medieval illuminated manuscripts was a consequence of this feeling, and as such we see a number of guides to and facsimiles of medieval manuscripts in the latter half of the 19th century.
To see some more beautiful examples of illuminated manuscript illustration, have a look at our online exhibition on the interactive screens. Treasure 111: Aberdeen Artists' Society
332 The celebration of art in Aberdeen can be traced through the collection of exhibition catalogues held in our Local Studies department, including those of the Aberdeen Artists' Society from its early years to the present, through to those produced by modern galleries, local art groups and societies, Gray's School of Art and more recently the directory produced for the North East Open Studios.
The origins of Aberdeen Artists' Society date back to 1827 when a group of artists resident in Aberdeen "resolved to associate themselves for the purpose of mutual improvement in Painting and the furtherance of the Art generally, in Aberdeen" and hold "An Annual Exhibition of Paintings, Sculptures and Designs". The artists in question included James Giles who was President, Alexander Fraser, Vice-President and James Troup, Secretary. Other members included Archibald Simpson.
The Aberdeen Artists' Society are working with Aberdeen Art Gallery on a new program of exhibitions after the Gallery re-opens in 2017 and the annual exhibition will return in 2018/19.
Check out our Treasures from our Collections interactive display to find out more about the history of Aberdeen Artists' Society. Braemar Castle
354 A Raphael Tuck & Sons postcard showing a painting of Braemar Castle by D. Small. The postcard is part of the Oilette, Deeside Series II and likely dates from the early 20th century. Archibald Simpson Portrait
385 An engraved reproduction of a James Giles (1801-1870) painted portrait of his friend, the architect, Archibald Simpson (1790-1847). The original painting is one of two Giles portraits of Simpson held by the University of Aberdeen. Search their catalogue here for more details. Adelpi Series postcard - Castle Street, Aberdeen in 1812
408 The rear of an Adelphi Series postcard that on the front shows a reproduction of Hugh Irvine of Drum's painting of Castle Street in 1812.
The postcard was sent with a brief message from Aberdeen to someone living in Dundee in 1905.
The postcard was lent to Aberdeen City Libraries so that we could create a digital copy for public use. Provost Alexander's Maze
531 A lay-out plan of Provost Alexander's Maze in Hazlehead Park. The drawing is credited to D.J.A. and dated 10/11/86. The plan has been created by the office of David Welch (1933-2000), Aberdeen's influential director of parks, here credited as the Director of Leisure and Recreation, for what would have been the City of Aberdeen District Council.
The plan states that the maze was opened on 19th October 1935. The total length of hedge is given as 2,318 metres or approximately 1.5 miles. The direct route to the centre is 443 metres.
As indicated by the name, the maze was a gift to the city by Lord Provost Henry Alexander (1875-1940), given as he neared the end of his provostship (1932-1935). The maze was officially opened by the Provost, his wife and their children. An account of the ceremony features in the Press & Journal of 21st October 1935, page 8.
The maze was designed by W. B. Clark, Aberdeen's superintendent of parks, and construction was overseen by a gardener called Mr Shirran.
Alexander intended the maze as an act of gratitude for all the pleasure Hazlehead Park had given to him and his family and as a source of enjoyment for many years to come:
"It had been said in connection with monuments that brass and stone perished. But the sound of joyous laughter of happy youth, which he hoped would be heard in the maze generations after they had gone, would be the best and most permanent memorial."
Document dimensions: 48 x 38 cm. |