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Jubilee bonfire on Brimmond Hill, Bucksburn, 1935
1139 During the 16th century, Brimmond Hill, in the parish of Newhills, was designated the site of a warning beacon, or "fyer bitte", to be lit in the event of a Spanish invasion.
In more recent times, celebratory bonfires on Brimmond have marked important national events. In this photograph, we see the bonfire built in honour of the Silver Jubilee of King George V and Queen Mary.
An advertisement in the local press intimated that "Lady Orr, Wardenhill, will set alight a thousand loads of wood to blaze sky-high the Loyal Greetings of Bucksburn and all the Parish of Newhills. This is the biggest bonfire in Britain. A wonderful spectacle." Aberdeen Theatres: The New Pavilion
3380 A poster from 1931 for The New Pavilion at Aberdeen beach. The poster lists many of the acts performing as part of Harry Gordon's Entertainments and gives a start date of 29th June. The box office for the theatre is given as Paterson, Sons, & Marr Wood, 183 Union Street.
In 1908 a young Harry Gordon won a talent competition at the Pavilion and so began his association with the theatre. He entertained visitors at the Beach Pavilion throughout the 1920s and 30s with his stories about the imaginary village of Inversnecky and songs such as "The Auldest Aiberdonian", "Hilly's Man" and "The Rodin Tree".
The Pavilion was closed during the Second World War, though reopened in 1946. Harry Gordon had given up his tenancy by this point. In the 1950s it was advertised as "the city's variety house by the golden sands presenting a bright and breezy variety show with well-known Radio and TV stars".
Resident comedians included Dave Willis and George Lacey and there were occasional appearances by future stars such as Julie Andrews. Plays were performed and films shown throughout the summer months.
In 1962 the Pavilion was re-named the Gaiety and became a licensed restaurant, public bar and lounge. It functioned as a restaurant in the Queens Links leisure complex until the remnants of the original building were destroyed by fire in 2014. Aberdeen Cinemas: Picture House / Gaumont
3403 The Picture House was opened on 14th December 1914 with an inauguration ceremony chaired by Lord Provost James Taggart. It was built at 181 Union Street by the rapidly expanding English firm, Associated Provincial Picture Houses. Michael Thomson in Silver Screen in the Silver City (1988) explains that construction of the cinema was delayed due to the war.
As seen here in 1937, the cinema's entrance was dominated by two squat white marble finish pillars topped by bronze capitals. The atmosphere inside was said to be cosy and luxurious. After conversion, the pre-existing building on Union Street contained the cinema's large foyer and within this was retained a large, original fireplace to warm visitors.
The 900-seater auditorium stood side-on between Union Street and Windmill Brae. With a budget of £12,000, the Picture House was designed by English architects Robert Atkinson and George Alexander. Thomson explains that the architects were inspired along Classical theatre lines and the building featured dark wood walls hung with French tapestries. A large tea-room, called the Tapestry Room, took up the first floor of the Union Street building. Above that, on the top floor, was the manager's office.
Thomson suggests that an early strength of the Picture House was its highly competent orchestra, originally led by pianist W. G. Ross. These were pre-radio days, with recording still in its infancy, so the orchestral playing would have been a significant attraction.
The profits from the Picture House's first screening back in December 1914 were distributed to Aberdeen charities. The first talking picture to be shown at the cinema was The Singing Fool in 1929. The Picture House was an upscale operation and one of the key early venues for cinema exhibition in Aberdeen.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] 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] Treasure 51: Central Library Extension Plan 1902
226 In this Year of Innovation, Architecture and Design we feature a plan from our archive showing the proposed extension to the original Central Library building. Previously, the building was around half the size of what it is now - the area which houses the Children's Library and Media Centre was added in the extension to the building in 1905.
By 1900 - less than 10 years since the Central Library first opened - the need for an extension was recognised with reports from the time describing The Reading Room as "congested, dark and inaccessible". In 1902, the architects Brown and Watt designed a 2-storey central piece with a single storey extending west to the junction of Skene Street, and ending in a tower. The extension cost £7,700 and opened on 18 May 1905. Built in keeping with the character of the main structure, it was described as a "harmony of architectural features". Facilities included a new Reading Room, a Stock Room, an upgraded Reference Department and public toilets.
The new Reading Room was painted in colours of citron and cream and described as "handsome, airy, bright and convenient". The 2000 readers who frequented it daily would have been well satisfied with 21 dailies, 100 weeklies, 78 monthlies and 11 quarterlies to choose from. Railway Timetables were also stocked.
The rules of the reading room were strictly enforced. Time restraints on newspapers were also in operation. Readers were given 10 minutes to "occupy a page if another reader has expressed a wish to have it turned".
The Pavilion
255 A poster from 1931 for The New Pavilion at Aberdeen beach. The poster lists many of the acts performing as part of Harry Gordon's Entertainments and gives a start date of 29th June. The box office for the theatre is given as Paterson, Sons, & Marr Wood, 183 Union Street.
In 1908 a young Harry Gordon won a talent competition at the Pavilion and so began his association with the theatre. He entertained visitors at the Beach Pavilion throughout the 1920s and 30s with his stories about the imaginary village of Inversnecky and songs such as "The Auldest Aiberdonian", "Hilly's Man" and "The Rodin Tree".
The Pavilion was closed during the Second World War, though reopened in 1946. Harry Gordon had given up his tenancy by this point. In the 1950s it was advertised as "the city's variety house by the golden sands presenting a bright and breezy variety show with well-known Radio and TV stars".
Resident comedians included Dave Willis and George Lacey and there were occasional appearances by future stars such as Julie Andrews. Plays were performed and films shown throughout the summer months.
In 1962 the Pavilion was re-named the Gaiety and became a licensed restaurant, public bar and lounge. It functioned as a restaurant in the Queens Links leisure complex until the remnants of the original building were destroyed by fire in 2014. |