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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. Flood mark on Bridge of Dee
820 Stone marking Flood mark, 4th August 1829 on Bridge of Dee. The stone was originally put on a high wall to the north-east of the Bridge of Dee. The level of the river beyond tidal waters was estimated at ten feet above normal. When the Riverside Road was formed in 1923, the slab was shifted to another site near the bridge. Milltimber Brae culvert washed out by flood
1025 Culvert washed out by flood, Milltimber Brae, August 1923. 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. Treasure 34: A Selection of Original Scots Songs in Three Parts
2322 Although the union of the Parliaments between Scotland and England had taken place almost a hundred years before, as the 18th century was drawing to a close there was still much fascination regarding the differing cultures. In time, Victorian society would give this fascination a renewed vigour, helped by Queen Victoria's passion for Scotland - including the establishment of Balmoral Castle as her residence North of the border. Before that time though, in the late 1790s, books were produced offering English readers an insight into their neighbours' traditions.
One such book was entitled 'A selection of original Scots songs' edited by Franz Haydn and published between 1790 and 1794. The book is designed to introduce the reader to the music and lyrics of traditional songs in Scotland. Haydn's book reproduced the songs along with corresponding music, and also offered a glossary to help with the more obscure language.
Burns' song 'My Heart's In The Highlands' - more popularly regarded today as a poem - makes an appearance in the selected works by Franz Haydn. With the collected works produced between 1790 - 1794, this was at a time when Burns began to suffer from the illnesses which would eventually end his life just a couple of years later.
Robert Burns
Celebrated across Scotland every year, Robert Burns Day takes place on 25 January and is an opportunity to remember Scotland's Bard and his work. Known the world over as the National Poet of Scotland, Robert Burns (1759 - 1796) was born in Alloway, Ayrshire. Burns' early life was one of balance; he toiled on his family's farm by day, and was taught reading and writing by candlelight at night. He conversed in Scots, while learning passages from English texts to further his studies. Although regarded by history largely as a poet, Burns also composed many songs - perhaps his most famous work 'Auld Lang Syne' being one of the few traditionally remembered in song form. One of our treasures this month celebrates Robert Burns' work and that of many other traditional Scottish musicians. Guest treasure: Aberdeen Journals' Photographic Collections
2435 The photographic collections of Aberdeen Journal Ltd span over a century. The photographs were taken to support stories and features in The Press & Journal and Evening Express newspapers - a picture speaks a thousand words after all. However, the accumulated photography has created a historical resource documenting life in the north east and Highlands during a century of change and development. The collection covers everything from the changing landscapes of our towns and cities through to global news events. But it's personal, too. People and their images are at the heart of our stories, be it the children on their first day in a new school through to community events and individual achievements. Your image is probably in the archive somewhere if you look hard enough.
The collection is actively used by our journalists. It provides content for favourites like The Aberdonian and Past Lives features in the Evening Express and historical context and background to stories in The Press & Journal. The collection is also used by external researchers looking for copies of images in which they or their family featured, supporting charities and associations celebrating anniversaries and even to supplement content as featured in The Silver City Vault!
archives@ajl.co.uk
View all the Christmas images from the archive in the Treasures from our Collections interactive exhibition on the library touchscreens. 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 103: Royal Wedding Posters
324 The 21st March marks the 146th wedding anniversary of Queen Victoria's sixth child, Princess Louise, and the 9th Duke of Argyll, the Marquis of Lorne. Aberdeenshire has always held the Royal family in high regard, largely due to their associations with the county and their Balmoral residence. As a result, the wedding of Princess Louise and the Scottish Marquis of Lorne in 1871 was cause for great celebrations in Aberdeen. In Aberdeen City Libraries' collection we hold three posters that testify to these celebrations, and serve as a perfect example of Victorian poster design. The Aberdeen Journal of 22 March 1871 described the union thus:
"The happy union hailed with so much satisfaction throughout the realm and especially in Scotland, was celebrated in Aberdeen with feelings of as great loyalty as in any part of Her Majesty's wide dominions. The attachment which Her Royal Highness the Princess Louise has shewn to her home in the Highlands has endeared her in an especial manner to those whom her Royal mother is pleased to call her neighbours; while her high artistic accomplishments and well-known kindliness of heart have, not less than her royal station, made her alliance with one of our most promising young Scottish nobles, an event of more than usual interest."
View our Treasures exhibition on the interactive screen to find out more about this royal couple and how their marriage unfolded in the following years. 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. |