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.

3409

A photograph of the Star Picture Palace at the junction of Park Street and South Constitution Street in the 1920s. The cinema was an undertaking of Bert Hedgley Gates in partnership with his wife Nellie and with financial backing from local businessmen. Bert Gates was among Aberdeen's most influential cinema proprietors. He would go on to be the founding managing director of Aberdeen Picture Palaces, a highly successful company that would play a key role in cinema exhibition in the city. The ever useful Silver Screen in the Silver City (1988) by Michael Thomson details much of the history of the Star Picture Palace, known as The Star or Starrie, and the activities of Bert Gates. The cinema was converted from the former premises of the Aberdeen East End Mission. Its name was thought to come from a red-stained glass window in the shape of a star that was a legacy of its previous use. The Star's auditorium stood on the south side of South Constitution Street and its entrance, as shown here, was at 23 Park Street, underneath a block of tenements. The cinema opened in March 1911 and showed a mixture of films and music. Bert and Nellie would stand behind the screen and add dialogue, sound effects and commentary to the silent films being shown. They also added topical references and allusions to well-known local figures. Both had backgrounds as stage artistes and their performances became a popular feature of the Star. In 1913 the successful cinema was expanded, doubling its capacity, as Aberdeen Picture Palaces acquired the building and some houses to its rear. Thomson states that the remodelled Star was advertised as "Absolutely the Finest and Most Handsome Interior Out of Glasgow". The Star had direct competition when the Casino cinema opened just around the corner on the north side of Wales Street on 7th February 1916. Thomson suggests that Gates responded to the Casino's popular and innovative cine-variety performances by programming his own varieties and mini revues. These included Miss Madge Belmont, "America's Handcuff Queen" and Birteno's Golden Grotto, "the most gorgeous electrical dance spectacle ever seen in Aberdeen - a display of serpentine and fire dancing by Belle Lumière, with marvellous kaleidoscopic colour effects". The Star Picture Palace showed its first talkie, King of the Khyber Rifles, on 13th October 1930. In November 1932 the cinema suffered a fire caused by a dropped cigarette. The damage was relatively minor however and only put the Star out of action for a fortnight. By the beginning of the second world war, the area around the Star was becoming depopulated as housing on Hanover Street and Albion Street was demolished to make way for the new Beach Boulevard. Bert Gates acquired control of the Casino in November 1939 with the idea of combining it with the Star to create one super-cinema that fronted onto the new thoroughfare. Thomson explains that business was concentrated on the Casino and later that month the Star closed as a cinema for good. In 1939/40 it served as an indoor fun-fair and as the Boulevard Ballroom for the remainder of the war. The Star building was demolished, at the same time as the Casino, in 1971 to make way for a housing development. Michael Thomson addresses the use of jam-jars for cinema admission in the first appendix to Silver Screen in the Silver City (1988). This includes an account of the Star Picture Palace from Ethel Kilgour who remembered going there as a child. Her description concludes as follows: "It was a great little cinema, jam-jar entry fee and all, and it was a form of escapism for so many children in a world so depressed between the wars". [Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson]

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.

4571

A postcard image looking south towards Stoneywood Paper Works with the residential area of Bankhead in the distance. Part of Sclattie Quarry can be seen in the top left. This image is undated, but it likely shows the works in the early to mid 20th century. As indicated by the text on the bottom left of the postcard, Stoneywood Works were then operated by Alexander Pirie & Sons. A papermill was established in 1770 on the Stoneywood estate by James Moir who leased the land to J. Boyle and R. Hyde for the production of fine writing papers. The business was soon taken over by Alexander Smith and further developed by his grandson Alexander Pirie. Pirie produced the mill's first watermarked paper in 1802, and introduced machine-made paper to the North-east in 1820. The mill became part of Wiggins Teape in 1992. It ceased to operate and closed for the final time in 2022. The light building located above the works, with the forking path, to the centre right of this image, is the factory's canteen. The large residence in the woods to the south of the works, with climbing plants on its façade, is Waterton House. The rear of this postcard is blank and unused. The box indicating where to add a stamp features a logo that reads "K Ltd." This gives an indication of the company which published the card.

209

Founded in 1825 as a printing firm based in Dundee, Valentine & Sons grew to become a prominent force in the postcard industry. Combining established printing practices with new developments in photography, Valentines were one of many companies able to exploit the growing Victorian tourist boom, aided in part by easier travel on Britain's new railway system. James Valentine, son of the original founder John, became an early pioneer in photography with many of his works reproduced by the company from 1860. After James' death in 1879, the company continued under his two sons, George Dobson Valentine and William Dobson Valentine. From 1896, Valentine and Sons began producing postcards to complement their existing business which included books of photographs, portraits and Christmas cards. As the postcard business grew in success, the company expanded into other tourist markets - including opening offices in Jamaica, Norway, North Africa, Canada and New York. By the 1930s, the company focused solely on postcard production, but a focus on monochrome and sepia prints seems to have underestimated a growing demand for colour images. By the 1950s, the business was suffering and elected to change direction by returning to greetings cards. The company was purchased by Waddington & Co in 1963 - which in turn passed to Hallmark cards in 1980. Operations in Dundee ceased in 1994. As with other producers of photographic material, the legacy of such a prolific business enables modern audiences a glimpse into the past with thousands of images from numerous locations capturing a given moment in time. Postcards have become a staple for those with historical interest, and many private collectors seek to hold the entire works of companies such as Valentine and Sons. For the Local Studies service, the collection of postcards produced by Valentine and Sons offer some unique and fascinating insights into Aberdeen life in the past. Not only this, the messages written on the back of postcards - both from and to those in Aberdeen - can often bring a more human side to the historical picture.

328

This treasure is a collection of twelve event tickets printed by James Daniel & Son between the years 1908 and 1911. The tickets are all printed on coloured, hard card, roughly 3 inches by 1.5 inches and feature decorative edges. All twelve tickets were printed by James Daniel & Son of 46-48 Castle Street. The company was started in 1835 by James Daniel senior. This small collection of tickets offers insight into both the work of an important Aberdeen business and the existence of long forgotten social clubs - and they may be one of the few remaining traces of clubs that were once an active part of social life in Aberdeen. Ten of the tickets are for "Annual Camp-Outs", one is for a picnic and the last is for an "At Home" event. The latter was a social gathering of the early 20th century that involved supper, speeches, music and dancing. The outdoor gatherings took place at scenic spots within easy reach of the city such as Kincorth Wood, Tullos Hill and Persley Den. Find out more about how the Edwardians spent their leisure time and the scandal surrounding James Daniel's company in the Treasures from our Collections interactive exhibition on our touchscreens.