Baldernock
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Baldernock 18th century nails
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1700
Part of a process of dating and archaeologically exploring architecture, the nails form part of Paul Bishop's investigations into processes of construction as a means of dating and understanding change.
Location of Origin: Baldernock
Location Now: Baldernock
Date: 1700
Materials: iron
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Baldernock communion token
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1837
Part of a collection of material from Neil Logan, the token is a rare example from this small parish - such tokens were necessary before being permitted to take part in communion during mass.
Location of Origin: Baldernock
Location Now: Baldernock
Date: 1837
Materials: metal
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Musket ball
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Location Now: Baldernock
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Baldernock cattle barn halter rope weight
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1900
A round wooden object thought to have been used, attached to rope to weigh down cattle. This was found in Westerblair Skath Farm, Baldernock, Balmore which was a working Gin Farm (grinding corn ).
Bronze Age Axe Head
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1400 – 1300 BC
This axehead was acquired as a result of the Treasure Trove system. The role of Treasure Trove is to ensure that objects of cultural significance from Scotland’s past are protected for the benefit of the nation and preserved in museums across the country. This is a reasonably well-preserved example of a Middle Bronze Age flanged axehead, belonging to a grouping classified as Baldersby axes, named after a North Yorkshire find. Baldersby axes are considered to date from around 1400-1300 BC. Bronze is made by melting copper and tin and mixing them in a crucible in a furnace. The molten metal was then cast into shape using stone or stone and clay moulds. People looked upon metalworking as a kind of magic, bringing something new into existence: melting rocks to forge metal. This axehead takes us back to the time when metal working technology was spreading across Britain and Europe. This particular example may have originated in Ireland and perhaps this was used for working wood? We’ll never know for sure.
Location of Origin: Bardowie
Location Now: Auld Kirk Museum
Date: 1400 – 1300 BC
Size/Dimensions: 10cm x 44cm (Weight – 204 gms)
Materials: Bronze
Accession Number: KITAK: 2012.16
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Apprenticeship indenture
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1824/5
This is an official document recording the apprenticeship of Joseph Gibb of Bardowie in Baldernock Parish to James Millar, a weaver in "Brenzet Burn" or Branziet Burn, Baldernock. Joseph Gibb has signed on to a 3 year apprenticeship with James Millar to learn the "art of weaving" from him.
Location of Origin: Baldernock
Location Now: East Dunbartonshire Archives, William Patrick Library, Kirkintilloch G66 1AD
Date: 1824/5
Size/Dimensions: 32 x 42 cm
Materials: Paper
Accession Number: Acc 2014/25
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Harvesting at Bankell
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c 1890s
This glass slide shows a harvest scene at Bankell Farm, Baldernock, on the outskirts of Milngavie. Bankell is described in the historical Ordnance Survey Name books 1858-1861 as "A good Farm Steading belonging to the Estate of Dougalston, the property of J. Gordon Glassford.â€
Location of Origin: Baldernock
Location Now: East Dunbartonshire Archives, William Patrick Library, Kirkintilloch G66 1AD
Date: c 1890s
Size/Dimensions: 8 x 8 cm
Materials: Glass
Archive Reference Number: Acc 2015/23
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Woods by Bardowie Loch
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c 1890 – 1895
W. Y. Cameron, James Paterson and Robert Macaulay Stevenson have all been recognised as ‘The Father of The Glasgow Boys’, however, in addition, Stevenson is usually credited with coining the name.
Stevenson was heavily influenced by the French ‘Barbizon’ school of painters, so called because they worked in the vicinity of the Barbizon forest near Fontainbleau during the mid-nineteenth century.
Stevenson was also particularly impressed with the work of Jean-Baptiste Camille Corot (1796 – 1875) and produced landscapes that concentrated on rural life. Like Corot, he employed muted colours and tonal effects. The silvery greys and misty greens that characterised his twilight paintings earned him the nickname, ‘Moonlighter’.
Stevenson referred to his work as ‘Constructive Idealism’ and explained the term thus: “The colours fade, the aspect changes, the leaves die, the picture as it was in nature ceases to be: the recollection remains, and that memory I transcribe on to canvas.â€
‘Woods by Bardowie Loch’ (a local landmark close by Robinsfield House) is a successful example of the soft, crepuscular atmosphere he aimed for, and achieves what he stated was his ultimate artistic aim: “a general ensemble of feeling†and a “harmonious voiceâ€.
Stevenson is often considered to be the last of ‘The Glasgow School’.
(Purchased 2011 with assistance from the National Fund for Acquisitions).
Maker/Manufacturer: Robert Macaulay Stevenson (1854 – 1952)
Location of Origin: Bardowie
Location Now: Auld Kirk Museum
Date: c 1890 – 1895
Materials: Oil on Canvas
Accession Number: KITAK: 2011.13
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Exhibition entry ticket
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1894
Robert Macaulay Stevenson's entry ticket for the Association of Munich Artists' International Exhibition. Macaulay Stevenson (1854-1892), was closely associated with the ‘Glasgow Boys’ and lived for some time at Montreuil-sur-Mer in France, at Kirkcudbright, and at Robinsfield, on the banks of Bardowie Loch, near Milngavie. A selection of his paintings were sold during this exhibition.
Maker/Manufacturer: Association of Munich Artists
Location of Origin: Munich
Location Now: East Dunbartonshire Archives, William Patrick Library, Kirkintilloch G66 1AD
Date: 1894
Size/Dimensions: 7.5 x 11 cm
Archive Reference Number: GD198/1/1/3/1
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Tomato Grader from Archibald Morrison & Sons Ltd.
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c 1930 – 1980
The parish of Baldernock includes Baldernock, Bardowie, Barraston, and Balmore. The Morrison family ran a horticultural business in Balmore from the 1930s, managing the Highcroft, Kilnrigg and Croft nurseries, famed for their tomatoes as well as chrysanthemums. The last Balmore nursery, Highcroft, closed in 1980.
Location of Origin: The Croft Nursery, Balmore
Location Now: Auld Kirk Museum
Date: c 1930 – 1980
Size/Dimensions: 160cm (Height) X 140cm (Length) X 126cm (width)
Materials: Wood and metal
Accession Number: Kitak: 1985.13.17
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Bunty Pulls The Strings
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1932
The playwright, Graham Moffat, took Baldernock Church and manse as the setting for his famous play "Bunty Pulls the Strings". The play, a 'Scottish Comedy in Three Acts' , was first performed at the Playhouse Theatre, London on 4 July 1911 and has been produced many times since, including in Baldernock itself in 1974. The play is set in around 1860 in the fictional rural Scottish village of Lintiehaugh and relates the story of Bunty Biggar, her family and neighbours.
Maker/Manufacturer: Published by Samuel French Ltd. Written by Graham Moffat.
Location of Origin: Baldernock
Location Now: East Dunbartonshire Local Studies Collection
Date: 1932
Size/Dimensions: 21 x 14 cm
Materials: Paper
Archive Reference Number: LC822.91
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Radio ham card
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1937
A QSL card is a postcard sent by radio ham enthusiasts when they have picked up a signal from a like-minded enthusiast. Sending and receiving QSL cards was a traditional part of the amateur radio hobby, dating back to the 1920s; they confirm that a contact was made. AM radio broadcasts were still a novelty and stations wanted to know how far away they were being received. The shortened text is so similar to the text used by mobile phone users nowadays.
This card is of particular interest as it was sent from Temple House, Baldernock by George L P Zech. George Louis Paul Zech was the son of Paul and Jeanne Zech-Dupont and was a native of Belgium. George's father, Paul Zech-Dupont had a business in Antwerp until 1914 and remained in the city throughout the siege. The family escaped to Glasgow as refugees, where Paul commenced varnish manufacture with Sandeman Brothers and also became Belgian Vice Consul in Glasgow. George and his sister Yvonne later worked with his father and George settled in Baldernock with his wife and twin daughters.
George was commissioned into the Royal Air Force on 4 September 1939. Flight Lieutenant Zech 73495 was a member of No. 3 Military and Air Mission, the elite Phantom squad; he was a "technical wizard†with wireless. He was also fluent in Dutch, French, German, Flemish and English. He was drowned following the sinking of SS Aboukir by a German E boat, leaving Dunkirk on 28 May 1940, aged 39 and is remembered on the Runnymede Memorial in Surrey. His name is also on the Baldernock War Memorial.
Location of Origin: Baldernock
Location Now: East Dunbartonshire Archives, William Patrick Library, Kirkintilloch G66 1AD
Date: 1937
Size/Dimensions: 15.5 x 10.5 cm
Archive Reference Number: Acc 2014/11
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Portrait of Robert Macaulay Stevenson by Stansmore Dean
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c 1940
(Richmond Leslie) Stansmore Dean (1866–1944),was born at 105 Breadalbane Terrace, Hill Street, Glasgow, on 3 June 1866, the youngest of the six children of Alexander Davidson Dean, an engraver and a co-founder of the printing firm of Gilmour and Dean, and his wife, Jean Leslie.
From 1883 Stansmore Dean studied at the Glasgow School of Art, where she became friends with Margaret Rowat, the sister of Jessie Newbery, and was a fellow student of Charles Rennie Mackintosh and Bessie MacNicol.
She was the first woman student to win the school's Haldane travelling bursary in 1890, and went to the Académie Colarossi in Paris to study under August Courtois.
At the beginning of the twentieth century she established her own studio in Glasgow and exhibited at the Glasgow Institute, in Paisley, and in Liverpool. She showed twice with the International Society in London; her work, for example Meditation (c.1899; Glasgow Museums and Art Galleries) and Girl in a Straw Hat (c.1910; priv. coll.), shows the influence of Whistler, president of that society.
When exhibiting work, her masculine-sounding name, which was a family one, may have been an advantage. An active member of the Lady Artists' Club and a forceful personality, she put forward Mackintosh as the man to carry out alterations and redecoration of the club's premises in Blythswood Square. His distinctive black entrance porch was erected before the club's council overrode her recommendations as convenor of the decorating committee.
On 30 April 1902 she married the artist Robert Macaulay Stevenson (1854–1952). He was a widower, and she helped to bring up his young daughter, Jean. This left her with fewer opportunities to develop her own career, and financial worries obliged them to let Robinsfield, their large house by Bardowie Loch to the north of Glasgow, where each had their own studio. They went to live at Montreuil-sur-Mer in northern France, where they both worked throughout the First World War with the Church of Scotland helping soldiers.
They returned to Robinsfield in 1926 but left again in 1932 to live in Kirkcudbright, then home to several Scottish painters.
Stansmore Dean died at Castle Douglas, Kirkcudbrightshire, on 15 December 1944.
Location of Origin: Bardowie
Location Now: Auld Kirk Museum
Date: c 1940
Size/Dimensions: 17cm X 13.6cm
Materials: Oil on canvas
Accession Number: KITAK: 1998.26.2
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The 'Goose Hoose'
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c1940-1950
This photo shows Nellie Duncan, with her sister and husband, outside Fluchter Mill in Baldernock. Fluchter Mill, which originally served Bardowie, was one of three mills in Baldernock, although no trace of the Fluchter Mill buildings now remain. Nellie and Eddie Duncan had several animals, including geese, hens and goats. Local schoolchildren used to take to the fields, to avoid passing the “Goose Hoose†where the geese could be quite vicious, running out from the garden to chase off the children.
On another occasion, Mr Baird, the schoolmaster, borrowed one of Mrs Duncan's goats to eat the grass on the school lawn, but in the middle of this, the goat kidded and one of the children had to be despatched quickly to fetch Mrs Duncan to deal with the situation. Country life indeed!
Location of Origin: Fluchter, Baldernock
Location Now: East Dunbartonshire Archives, William Patrick Library, Kirkintilloch G66 1AD
Date: c1940-1950
Size/Dimensions: 9 x 6.5 cm
Materials: Photographic print (original)
Archive Reference Number: Acc 2015/23
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