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Part of New Aberdeen, Aberdeenshire
599 An illustrated view of New Aberdeen, showing the River Dee. The inscription below the image states "Engraved by J. Storer, for the Antiquarian and Topographical Cabinet, from a Drawing by J. D. Glennie".
The latter is likely John David Glennie (1796-1874), a painter, engraver and lithographer that the Benezit Dictionary of Artists describes as known for illustrating Letters on India and Scenes on the Continent by Maria Graham.
Antiquarian and Topographical Cabinet, containing a series of elegant views of the most interesting objects of curiosity in Great Britain. Accompanied with letter-press descriptions was compiled by James Storer and John Greig and published in 9 or 10 volumes from around 1807 to 1817.
In the advertisement at the beginning of the first volume, J. Storer and I. Greig state that the work "will be hastening to preserve the lineaments of the most venerable remains of Antiquity which Time is incessantly whittleing away by nearly imperceptible atoms."
This view of New Aberdeen features in volume 9 of the series, published in 1811, and is accompanied by a short description. It lists the principal objects shown as the Castle Hill, the Barracks, Toll-booth and the Custom House. Upper Denburn
729 Upper Denburn, looking east, prior to its demolition.
Brick gable tenements can be seen on the left already stripped of their roofs.
The viewpoint is looking from the Dyers Court area eastwards towards Marischal College Tower and the retaining wall of the Royal Infirmary (with its dome on the skyline). This lead to Spa Street and Woolmanhill beyond.
The houses and tenements on the right are more sparse and primarily traders yards.
Garden Nook Close led off the left past a timber yard to the Well of Spa. The Well O' Spa Pub was on the extreme left corner.
Note the partial visible trade sign on the ridge of the distant roof - most likely James Stephen & Son. They were carvers, gilders/ornamental plasterers, mirror & picture frame makers, artists' colourmen and fine art dealers and operated at 48-50 Woolmanhill from around 1890-1933. Gordon's Hospital Spire rises beyond these premises.
(Many thanks to Ed Fowler for the above description). Shepherd's Court gateway, Guestrow
1519 Shepherd's Court gateway, Guestrow. This arch was initially removed to Union Terrace Gardens circa 1931 and then re-positioned in front of Provost Skene's House around 1970.
(Many thanks for additional information provided by Gary Ether, Aberdeen)
The sign that can be partially seen on the extreme left is likely for Hay & Lyall, a company of carvers and gilders that were based at 19 Guestrow for some time.
The company was run by John Hay (Jnr.) and his brother in law, Robert Watson Lyall. The Hay family played a long and varied role in the Aberdeen art trade, including providing frames for many local artists.
John Hay's obituary from the Aberdeen Weekly Journal, 21st October 1896 p. 5, gives particular praise to his decorative carvings on the ceilings of the Town House and the Mitchell Hall in Marischal College.
He was also a one time partner of pioneering photographer George Washington Wilson, who took this photograph.
(Thanks to Ed Fowler for additional information) The Old Manse of St Nicholas
1846 The Old Manse of St Nicholas, Schoolhill, Aberdeen. In 1620, the house became the residence of George Jamesone, the celebrated portrait painter. By the 1880s it had became a common lodging house and it was demolished in the late 1880s and its site is now commemorated by a plaque. William Dyce
2083 A portrait of William Dyce, R.A. (1806-1864). He was a nationally successful painter and educationalist. Dyce was the son of William Dyce, a lecturer of medicine at Marischal College, and Margaret Chalmers. Born at 48 Marischal Street, Aberdeen, he was educated at Aberdeen Grammar School and Marischal College. A School of Dolphins: Archie Star at Central Library
2180 Everyone got a chance to make their mark on Archie star. The rainbow reflects the Archie foundation and the fantastic work they do, it also is a symbol reflecting the generous support of Woodgroup. The bright stars are the children and the amazing staff at RACH. The collaged comics were chosen by all our artists big and small. Union Street Looking East
2312 An Adelphi Series postcard looking east down Union Street. Trams for Rosemount and Queen's Cross can be seen in the centre of the image.
The premises of Knowles & Son, fruit growers and importers, can be seen on the right at 77 Union Street. They moved into this shop, previously occupied by booksellers Messers Brown & Co. in 1893.
A sign for Sangster & Henderson's Warehouse is visible high up on the side of a building in the background and the 2nd statue of Queen Victoria is visible in its original location at the junction with St Nicholas Street.
The postcard is number 148 from the Adelphi Real Photographic Series. Nuart 2018: Caledonian House
2735 An artwork by artists Nimi and RH74 created for the Nuart 2018 Festival that ran from 12th to 15th April of that year.
The large scale mural is on the western exterior wall of Caledonian House on Union Row.
This photograph was taken on 10th June 2018. Torry Academy commemorative willow tree
2912 A commemorative tree created as a memento marking the closure of Torry Academy in July 2018. The school first opened in 1927.
The willow tree was created by artists Margaret and David Preston. It has an engraved gold leaf for each pupil and staff member in Torry Academy's final year. The copper windings on the tree will, in time, oxidise and the tree colours are intended to reflect those of the school tie: blue, aqua and silver.
Torry and Kincorth Academies closed to make way for the state-of-the-art £47 million Lochside Academy. Pennan
2955 A photograph of Pennan by James Porter taken from Buchan Illustrated (1904). The book was one of a number of pictorial albums of Aberdeenshire published by the offices of the Aberdeen Daily Journal and the Evening Express. The book was bound for the publishers by W. J. Middleton, Adelphi Works.
All its 80 photographs were taken by James Porter, then based at 6 Schoolhill. He was a well-known and prominent photographer, considered to be one of the first in the City to work with newspapers.
Porter died aged 63 on 31st May 1937 at Aberdeen Royal Infirmary. His obituary can be read in the next day's Press and Journal.
Buchan Illustrated accompanies the photograph of Pennan with the following text:
"The beautiful bay of Pennan is the haunt of artists; its village stretches along the margin of the sea under the shadow of rugged cliffs which rise abruptly above the houses to the height of 200 feet. In storms the houses are occasionally flooded at high water. The view from the Red Head of Pennan (562 feet) is a notable one - to the westward, Troup Head; to the eastward, a long line of indented coast; across the Moray Firth, many of the great mountains of Ross, Sutherland, and Caithness." Aberdeen Theatres: The Music Hall and Union Street
3372 The Music Hall opened in 1822 as Aberdeen's Assembly Rooms and was designed by Archibald Simpson; the building was originally intended as a place for the elite to socialise.
In 1858, the Aberdeen Music Hall Company bought the building and a large concert hall was added, reopening as the Aberdeen Music Hall in September 1859. The building was refurbished in the mid 1980's, spending more than £2.5 million, and reopening in 1986.
The Music Hall has been run by Aberdeen Performing Arts since 2004 and celebrated its 150th anniversary in 2009.
The latest renovations took place between 2016 and 2018 and the Music hall has been a vibrant part of Aberdeen since then, welcoming artists and entertainers. Aberdeen Theatres: Pavilion programmes
3382 For more than 30 years Harry Gordon, one of Scotland's most talented comedians of the 20th Century, dominated Aberdeen's entertainment industry and prompted local historian Fenton Wyness to describe him as "possibly the only real attraction Aberdeen beach has ever had". Aberdeen Local Studies hold a collection of bound volumes of Beach Pavilion programmes, published between 1924 and 1940.
The Beach Pavilion opened in 1905 and later became the home of Harry Gordon, the Laird of Inversnecky and one of Aberdeen's most popular comedians. He entertained visitors at the Beach Pavilion throughout the 1920s and 1930s, helping to make the Beach Pavilion one of the brightest and best places of entertainment in town and brought many world-famous artists to Aberdeen.
The final curtain came down with the Second World War. Due to its vulnerable location, many people were reluctant to go the Beach and the Pavilion was closed during the war years. It was re-opened in 1946 (although Harry Gordon had given up his tenancy by then) and continued as an entertainment venue. Aberdeen Theatres: Dufton Scott
3393 Robert Dufton Scott (1880-1944), born in Forgue, was another prominent North-East entertainer.
Much can be learnt of his life from the Press & Journal obituary that followed his death at his home at 3 Kirkland Terrace, Inverurie on 19th September 1944. He was sixty four years of age.
He is described as a well known elocutionist and exponent of Aberdeenshire doric. He spent his youth in Huntly and later moved to Aberdeen. The P&J suggest his "vivid delineation of Aberdeen life and character" quickly placed him at the forefront of Scottish entertainers.
He toured with Walker & Company, the local cinema pioneers, and appeared on the same bill as artists such as James Scott Skinner, Durward Lely, Mackenzie Murdoch and Jessie McLachlan.
He was associated with David Thomson at the Beach Pavilion and also appeared in concerts at the Music Hall.
Additionally, Scott found success publishing books of Scottish stories and broadcasting on the radio. In the 1910s he had moved to Inverurie and had set up business as a bookseller.
He was survived by his wife and three sons.
Nuart 2017: The Green
3773 An artwork by German artists Herakut for the Nuart 2017 Festival that ran from 14th-16th April of that year.
The artwork is on the western, curved façade of the Indoor Market in the Green.
This photograph looks east and was taken on 14th July 2018. A food and drink festival is also shown taking place. Aberdeen Market: before and after demolition 4
4363 Looking east, the before image shows the Green side of Aberdeen Market. A mural by artists Jasmin Siddiqui and Falk Lehmann (known collectively as Herakut) created for the 2017 Nuart Festival is prominently shown. Taken on 27/08/2021.
The after image provides an extensive view of the cleared site. The gradient of Market Street, with Carnegie's Brae at the end of the East Green, is shown. As are the remains of connections between the 1970s market and Union Street on the left. Taken on 07/09/2023.
This composite image is part of a series by Roddy Millar showing Aberdeen Market and its surrounds before and after it was demolished.
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.
Treasure 50: Heroines of Shakspeare
221 Celebrating 400 years since the death of the literary great, one of our April treasures looks at an unusual publication concerning the works of William Shakespeare.
Published in the mid-19th Century, this wonderful volume was donated to Aberdeen Public Library by Miss Emily Jane Duthie, a retired teacher living on Skene Terrace.
Born in India in 1868 Miss Duthie was the daughter of Robert Duthie, Superintendent of the Scottish Orphanage in Bombay during the days of the British Empire. The school was founded in 1847 by Scottish Christian Missionaries to educate the daughters of Scottish Presbyterian Soldiers based in India. Since then, the school has continued to thrive and is now one of the most prestigious in Mumbai.
It is highly likely that Miss Duthie's early years based at the institution, followed by her own studies and subsequent career would have introduced her to the world of Shakespeare and perhaps piqued an interest in the many female characters depicted therein. The kind donation clearly demonstrates her continuing desire and passion to educate others in later life, once her career as a teacher had come to an end.
"The heroines of Shakspeare" is chiefly an art book; a means to showcase the forty-eight imagined portraits of the Bard's fictional characters. The attempt to capture a visual representation of the prominent female characters provides a neat bridge between Shakespeare's contemporary audiences (who would have seen female roles assigned to young boys), and our modern age of television and film which is frequently dominated by physical appearance.
Although educated Victorian audiences would have been familiar with the written words, the illustrations attempt to capture a definitive image of each character, including approximate age, costume, physical features and demeanour as revealed by the playwright.
The images are portraits of Hamlet's Ophelia, Othello's Desdemona, Romeo and Juliet's Juliet and of course - Lady Macbeth (from the Scottish play!)
The illustrations are printed on thick paper from original engravings by portrait artists including Augustus Egg, John Hayter and John William Wright. The book is bound with gilt edges and also contains sturdy decorated endboards.
The curious spelling of Shakespeare in the title reflects the fact that during the Bard's own lifetime there was no single accepted form - the man himself spelling his own name differently in various editions of his work. Although this may seem strange to modern readers the tradition harks back to an era when language was much more fluid, and established forms of spelling simply did not exist in the way that we know today.
Treasure 58: Princess Mary's Gift Book, 1914
234 One of our treasures this month was a wartime endeavour of Princess Mary (25 April 1897 - 28 March 1965), the third child and only daughter of King George V and Queen Mary.
Princess Mary's Gift Book was a fundraising volume published on 27 November 1914 by Hodder & Stoughton. All profits from its sale went to the Queen's 'Work For Women' Fund, which was created to secure paid employment for women whose livelihood was threatened by the war.
The volume features stories and poems by some of the most popular authors of the day such as J. M. Barrie, Arthur Conan Doyle and Rudyard Kipling. The stories are accompanied by black and white illustrations and colour paintings by famous artists like Arthur Rackham and all the artwork was created specifically for the book.
Princess Mary's Gift Book was designed to appeal to all members of the family. It opens with a piece by J. M. Barrie on how best to enjoy a holiday in bed and includes many other stories and poems including Magepa the Buck and Out of the Jaws of Death: A Pimpernel by H. Rider Haggard and Baroness Orczy.
The gift book was sold for 2s. 6d. and half a million copies were sold within a month of its publication.
View the Treasures from our Collection interactive exhibition on the touchscreen to find out more about Princess Mary and her gift book - and discover the coincidence linking the book to one of the biggest supernatural scandals of the 20th Century.
Treasure 63: Scenes and Characters from the work of Charles Dickens (1908)
239 This treasure from our collections features 866 drawings illustrating the novels of Charles Dickens. The work of eleven artists is featured - many depicting the poverty, crime and oppression of Victorian Britain.
The volume was re-published after the death of Charles Dickens in 1870 and enjoyed great success, with many viewing the illustrations as an accurate depiction of Dickensian characters.
The artists who contributed to the publication were well respected in Victorian London and included Charles Green, 'Phiz' (also known as Hablot Knight Browne), and Fred Barnard - best known for his illustrations of Dickensian characters Bill Sikes and Little Nell.
This treasure features in our exhibition for July 2016 to coincide with our Celebrating Dickens programme of free events and activities in Aberdeen Central Library. The programme features readings of Dickens' work in English and Doric, a talk on the author's early work and free creative workshops for teens. Speak to a member of staff or pick up a leaflet in the library. Treasure 65: Beach Pavilion Programmes
241 For more than 30 years Harry Gordon, one of Scotland's most talented comedians of the 20th Century, dominated Aberdeen's entertainment industry and prompted local historian Fenton Wyness to describe him as "possibly the only real attraction Aberdeen beach has ever had". Aberdeen Local Studies hold a collection of bound volumes of Beach Pavilion programmes, published between 1924 and 1940.
The Beach Pavilion opened in 1905 and later became the home of Harry Gordon, the 'Laird of Inversnecky' and one of Aberdeen's most popular comedians. He entertained visitors at the Beach Pavilion throughout the 1920s and 1930s helped to make the Beach Pavilion one of the brightest and best places of entertainment in town, bringing many world-famous artists to Aberdeen.
The final curtain came down with the Second World War. Due to its vulnerable location, many people were reluctant to go the Beach and the Pavilion was closed during the war years. It was re-opened in 1946 (although Harry Gordon had given up his tenancy by then) and continued as an entertainment venue. In 1962 the Pavilion was re-named the Gaiety and became a licensed restaurant, public bar and lounge. It then functioned as a restaurant in the Queens Links leisure complex but the remaining remnants of the original building were sadly destroyed by fire in May 2014. Treasure 68: Select Views of Edinburgh, from original paintings by Lieutenant Colonel Batty, 1831
268 To coincide with the Edinburgh International Festival, we are showcasing our collection of engravings and etchings of the city by early Victorian artists.
The engravings are extracted from Select views of some of the principal cities of Europe. From Original paintings by Lieutenant Colonel Batty which was published in January 1831 by Moon, Boys and Graves, known as the "printsellers [sic] to the King" and initially sold for £7.
Robert Batty (1789-1848) was an army officer and an artist who recorded and illustrated his many experiences of active service. Select Views are compiled of etchings and notes from his time spent serving abroad in cities such as Gibraltar, Lisbon, Rotterdam, Amsterdam, Brussels and Antwerp. In total, seven plates of Edinburgh were presented in the volume. Each plate is accompanied by a descriptive text published both in English and in French.
Many local and London-based artists contributed to the volume including Edward Goodall (1795-1870), W.R. Smith (active 1826-1852), George Cooke (1781-1834), and William John Cooke (ca. 1796-1865). The plates portray Edinburgh from different viewpoints with many featuring the city's iconic castle and skyline.
The collection depicts Scotland's capital through the eyes of 19th Century artists, residents and visitors to the city of Edinburgh and reflects the artistic style and techniques of Victorian Britain.
Find out more about the Victorian artists behind the engravings in the Treasures from our Collections interactive exhibition on our touchscreens. Treasure 97: Aberdeen Grammar School Art Club
316 The work of the Aberdeen Grammar School Art Club can be seen in the collection of sketch books held in Local Studies for the years 1920 - 1923 and 1926 & 1928, and as supplements in some of the school magazines which also describe the early activities of the club.
The Art Club was started by the enthusiastic Art Master, C.R. Leslie Millar, in 1917. There was an initial membership of 25 boys with H. Morgan acting as Secretary, who was later complemented for his delightful posters and sketches on the notice boards. The club would go out sketching on Saturdays from mid-May and throughout June, working in pencil, oils, water-colours and pastels.
The first sketch book was produced for Christmas 1919 with introductory club notes. It's a tribute to the art masters that they did much to develop the appreciation of art and encourage individual talent among the pupils. The work of the club was favourably commented on by His Majesty's Inspectors and at the Aberdeen Artists Society Exhibition in December 1921 two club members were successful in having pictures accepted.
Have a look at some fine examples of the art club's sketches in the Treasures from our Collections interactive exhibition on the touchscreens.
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. Treasure 120: Walford Bodie
343 In the late-Victorian and Edwardian periods, at the height of music hall variety, Dr Walford Bodie M.D. was one of the most famous and highly paid entertainers in Britain. He remains an enigmatic and charismatic figure in the history of the North East. Born Samuel Murphy Bodie at 33 George Street, Aberdeen on 11 June 1869, he went on to become a leading showman, hypnotist, ventriloquist, controversial 'bloodless surgeon', and was billed variously as The Electric Wizard, The Modern Miracle Worker of the North, and The Most Remarkable Man on Earth.
Our treasure is a photograph album held by Aberdeen City Libraries that offers an insight into the life and times of Bodie and his amazing family. Walford Bodie was for much of his career the headline performer of an extended and shifting company of artists. Members of his family, and in particular those of his wife, often played important roles in the Bodie Show. In 1890 Bodie married Jeannie Henry (1869-1931), who performed with Walford as an illusionist and mind-reader called Princess Rubie, until her retirement in 1930. Jeannie and 3 of her sisters went on to play important parts in the Bodie show. One of her sisters was Annie "Nan" Henry (1880-1970) and it is her album that we now hold in the library.
The album is a large volume, bound in dark green leather. Within floral endpapers there are around 101 pages each containing approximately 3 photographs. The images are a mixture of postcards and photographic prints. Most appear to have been sent to Nan Henry while she was living in the Bodie family home in Macduff. Many have signed endearments on the front and carry short messages on the reverse.
To learn more about this unique character, have a browse in the Treasures from our Collections interactive exhibition. |