60

An early photograph of Allenvale Cemetery, taking shape in the middle distance, as seen from Kincorth, with Abbotswell Farm in the foreground. A limited company called the Aberdeen Cemetery Company was established for the purpose of creating this new graveyard. A prospectus inviting public investment was published in the Aberdeen Journal of 29th January 1873. It reads as follows: "It is well known that in Aberdeen cemetery accommodation is limited and insufficient, and it is generally admitted that its extension is necessary, and cannot much longer be delayed. It is therefore desirable to acquire additional space for that purpose, and to treat it in accordance with modern ideas and practice. "This company has been formed for the purpose of providing an extensive Cemetery, in the neighbourhood of Aberdeen, suitable in all respects for the purposes of internment, and of easy access - but sufficiently removed from town to preserve its suburban character." The new cemetery opened in late 1874 and, as we know, was a big hit. It was officially known as the Aberdeen Cemetery but quickly became known as Allenvale Cemetery, after the property on which it was built. Allenvale saw major extensions in 1912 and 1932. A London syndicate purchased control of the graveyard from the Aberdeen Cemetery Company in 1958. Aberdeen Town Council subsequently took control of the cemetery in 1965 following the then owners going into liquidation and worries about Allenvale's future. Allenvale remains a fine example of a planned Victorian cemetery to this day. Notable residents of Allenvale include John James Rickard MacLeod (1876-1935), co-discoverer of insulin, James Scott Skinner (1843-1927), fiddler and composer, and Mary Esslemont (1891-1984), the influential doctor. Though, of course, many interned at Allenvale would have their own interesting stories to tell. In this photograph, Duthie Park, later created on the right, has yet to be landscaped. St. Machar Poorhouse, Fonthill House and Devanha House can all be seen in the distance.

2833

The Forsyth Hotel at 102, Findlay & Co., Ltd., tobacconists, at 104 and R. J. Smith, draper, London house, at 106 Union Street in 1937.

3806

A photographic portrait of Rev. Robert Macleod (c.1845-1927). He was the minister at John Knox United Free Church on Gerrard Street between 1883 and 1915. Macleod was a native of Wick and was the father of J. J. R. Macleod, Nobel prize winning discoverer of insulin for the treatment of diabetes. Robert Macleod died in Edinburgh on 9th June 1927 and was buried in Aberdeen's Allenvale Cemetery. An obituary for him can be found in the Press and Journal of 10th June 1927, page 8. This photograph is from a plate facing page 40 of a book of the bazaar held by Aberdeen City Libraries. The book is called Life of John Knox: with an account of John Knox Free Church and its Ministers. Issued in connection with Bazaar to be held in Music Hall Buildings, Aberdeen on Thursday, Friday, and Saturday 26th, 27th, 28th., 1899. (1899)

4434

A photograph of a monogram on the fountain in Victoria Park. This fountain was constructed using granite from 14 local quarries and was designed in 1878 by John Bridgeford Pirie, an eminent local architect who was the son of a sea captain. The fountain was presented to the people of Aberdeen in 1881 by the Granite Polishers and Builders of Aberdeen. It was estimated to have cost £500 at the time. The fountain was initially the idea of John Morgan, one of the most prominent builders in the city. It was designed to showcase the finest work of local granite industry. It was first proposed for a site near Union Terrace, though Victoria Park was eventually selected. As can be seen in early photographs, the fountain originally had a rockery feature at its base. The fountain features the monograms of the stonemasons and firms who created it. The monograms, or names, of the master mason's involved in the creation of the fountain was at one point quite controversial. The report on the installation of the ornament in the Evening Express of 30th April 1881, page 2, includes the following: "Many may take exception to the appearance of the monograms, and in one or two cases the full names, of the donors carved on the various stones; but that is a comparatively small defect in view of the general excellence of the structure. Numerous are those who have contributed their quota to this gift, and all deserve a share of the credit of its execution and presentation; but it is no more than what is called for to mention Mr John Fyfe as having given some of the most expensive and most artistic portions of the fountain." An article describing the fountain from the Aberdeen Free Press of 16th March 1881, page 5, lists the names represented on the fountain: "John Fyfe (Kemnay), John Gibb & Son, J. Mowlem & Co., and A. & F. Manuel; Alexander Milne (builder), Alexander Milne (stonecutter), J. and J. Ross, George Henderson, Alexander Henderson, Edgar Gauld, Pringle & Slessor, Thomas Donaldson, Fordyce & Company, John Ross, Duguid & Wilson, James Mitchell, Peter Murray, James Willox, William Ferguson, Grant and Watt, Peter Bisset & Son, Alexander Leith, Boddie & Wilson, James Wright & Sons, J. and J. Ogg, J. W. Legge, G. & R. Hall, J. Petrie and Co., James Hunter, William Keith, and Adam Mitchell & Company." This image was taken on 28th February 2024.

4435

A photograph of a monogram on the fountain in Victoria Park. This fountain was constructed using granite from 14 local quarries and was designed in 1878 by John Bridgeford Pirie, an eminent local architect who was the son of a sea captain. The fountain was presented to the people of Aberdeen in 1881 by the Granite Polishers and Builders of Aberdeen. It was estimated to have cost £500 at the time. The fountain was initially the idea of John Morgan, one of the most prominent builders in the city. It was designed to showcase the finest work of local granite industry. It was first proposed for a site near Union Terrace, though Victoria Park was eventually selected. As can be seen in early photographs, the fountain originally had a rockery feature at its base. The fountain features the monograms of the stonemasons and firms who created it. The monograms, or names, of the master mason's involved in the creation of the fountain was at one point quite controversial. The report on the installation of the ornament in the Evening Express of 30th April 1881, page 2, includes the following: "Many may take exception to the appearance of the monograms, and in one or two cases the full names, of the donors carved on the various stones; but that is a comparatively small defect in view of the general excellence of the structure. Numerous are those who have contributed their quota to this gift, and all deserve a share of the credit of its execution and presentation; but it is no more than what is called for to mention Mr John Fyfe as having given some of the most expensive and most artistic portions of the fountain." An article describing the fountain from the Aberdeen Free Press of 16th March 1881, page 5, lists the names represented on the fountain: "John Fyfe (Kemnay), John Gibb & Son, J. Mowlem & Co., and A. & F. Manuel; Alexander Milne (builder), Alexander Milne (stonecutter), J. and J. Ross, George Henderson, Alexander Henderson, Edgar Gauld, Pringle & Slessor, Thomas Donaldson, Fordyce & Company, John Ross, Duguid & Wilson, James Mitchell, Peter Murray, James Willox, William Ferguson, Grant and Watt, Peter Bisset & Son, Alexander Leith, Boddie & Wilson, James Wright & Sons, J. and J. Ogg, J. W. Legge, G. & R. Hall, J. Petrie and Co., James Hunter, William Keith, and Adam Mitchell & Company." This monogram may be that of Peter Murray. This image was taken on 28th February 2024.

4436

A photograph of a monogram on the fountain in Victoria Park. This fountain was constructed using granite from 14 local quarries and was designed in 1878 by John Bridgeford Pirie, an eminent local architect who was the son of a sea captain. The fountain was presented to the people of Aberdeen in 1881 by the Granite Polishers and Builders of Aberdeen. It was estimated to have cost £500 at the time. The fountain was initially the idea of John Morgan, one of the most prominent builders in the city. It was designed to showcase the finest work of local granite industry. It was first proposed for a site near Union Terrace, though Victoria Park was eventually selected. As can be seen in early photographs, the fountain originally had a rockery feature at its base. The fountain features the monograms of the stonemasons and firms who created it. The monograms, or names, of the master mason's involved in the creation of the fountain was at one point quite controversial. The report on the installation of the ornament in the Evening Express of 30th April 1881, page 2, includes the following: "Many may take exception to the appearance of the monograms, and in one or two cases the full names, of the donors carved on the various stones; but that is a comparatively small defect in view of the general excellence of the structure. Numerous are those who have contributed their quota to this gift, and all deserve a share of the credit of its execution and presentation; but it is no more than what is called for to mention Mr John Fyfe as having given some of the most expensive and most artistic portions of the fountain." An article describing the fountain from the Aberdeen Free Press of 16th March 1881, page 5, lists the names represented on the fountain: "John Fyfe (Kemnay), John Gibb & Son, J. Mowlem & Co., and A. & F. Manuel; Alexander Milne (builder), Alexander Milne (stonecutter), J. and J. Ross, George Henderson, Alexander Henderson, Edgar Gauld, Pringle & Slessor, Thomas Donaldson, Fordyce & Company, John Ross, Duguid & Wilson, James Mitchell, Peter Murray, James Willox, William Ferguson, Grant and Watt, Peter Bisset & Son, Alexander Leith, Boddie & Wilson, James Wright & Sons, J. and J. Ogg, J. W. Legge, G. & R. Hall, J. Petrie and Co., James Hunter, William Keith, and Adam Mitchell & Company." This image was taken on 28th February 2024.

4584

Postcard showing the countryside around Cults, Aberdeen. Cows, hay bales, and the settlement of Cults, beyond the River Dee, can all be seen. The Shakkin' Briggie is also visible. The card was published by A. & R. Milne, Aberdeen, and uses a photograph by George Washington Wilson & Co. Affixed on the rear is a King Edward VII half penny stamp, in circulation from 1902-1909. The card is addressed to Miss Mary Hendry in Braemar, Aberdeenshire, from a J. E. H. It was sent on 19th October 1903 from Aberdeen, per the post office stamp.

546

The front cover of a programme for an event organised to raise funds for workers from Broadford Works, a textile factory in Aberdeen. These workers had been made unemployed due to the financial difficulties of the owners of the works, Richards & Co. The event took place in the Music Hall on 21st December 1898, under the patronage of the directors and managers of the works. It featured the following acts: an organ recital by Mr John Allan; grand national fantasia, Scotland's pride by 1st Aberdeen Artillery Volunteer Band; Chairman's remarks by Lord Provost Fleming; songs from Miss Nellie Donaldson; a dramatic recital called Touch me gin ye daur by Mr Dove Paterson; a song called By the Fountain performed by Mr J. A. Goodlad; dancing by the Alexandra Trio; musical (instrumental) entertainment by Mr Will Pender; songs by Miss Jessie G. Roberton; Von German Girl, a comic song by Mr R. F. Davidson; dancing by Roberts and Masson Trio; Quartette, Thuringian Volkslied, by Messrs. Goodlad, Watt, Arthur, and Emslie; the world-famed cinematographists Messrs Walker & Company; another quartette, Soldiers' Chorus from Gounod's Faust by Messrs Goodlad, Watt, Arthur, and Emslie; recital of the William Cadenhead poem Broadford Mill by Mr Dove Paterson; Bedouin Love Song by Mr William Arthur; selections of bagpipe music by Mr Angus Gibson; dancing by Miss Duncan's Quartette, highland and national; descriptive fantasia by 1st Aberdeen Artillery Volunteer Band, A Hunting Scene; God save the Queen by 1st Aberdeen Artillery Volunteer Band. A dance assembly followed the concert. Tickets for the event could be bought from the Lodge, Maberly Street, members of the committee and from various city centre businesses. The back page of the item, also available to view on this website, features an illustration of the Hutcheon Street/Maberly Street site and some historical detail. The programme was printed by the Rosemount Press.

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