Paterson's Inverness Portraits

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Inverness Portraits AN INTRODUCTION

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Inverness Portraits




Andrew Paterson





DURING the late 1800s Scottish photographers pushed the art of photography to new technical and creative limits. Thomas Annan famously recorded the slums of Glasgow in what is considered to be the first use of photography as social record, while other Scots took their skills abroad to record major events such as the American Civil War and the Crimean War. The 20th century saw the creation of Scotland’s first photographic gallery and both the Glasgow School of Art and Edinburgh College of Art established Fine Art Photography departments. St Andrews University, home of photographic pioneers Sir David Brewster and the Adamson brothers, became an internationally renowned centre for the history of photography. In the Highland capital, Inverness, there were several photography exponents during the late 19th-early 20th centuries, including the photographers David Whyte, Watson & Senior, John MacMahon, Cooper & Sons and

MacGillivray & Co. There was also Andrew Paterson, a young portrait photographer plying his trade and developing skills that would eventually see him become an internationally renowned, multi-award winning artist-photographer, whose services were sought over several decades by many leading political and commercial figures of the day. Andrew Paterson was born in Inverness on 29th September 1877. His father, James Paterson, a ship’s captain in the merchant marine, and mother Isabella (nee Noble) lived at 18 Shoe Lane, Merkinch, which is now only a pathway off Simpson’s Lane. He had learned the art of taking photographs locally but gained further experience down south before returning to Inverness. In 1895, at age 18, Andrew Paterson opened his photographic business at 32 Church Street. Between 1900 and 1902 he was located at 3 New Market Entry, and in 1903 the studio


Shoe Lane, Paterson’s birthplace, once ran to the banks of the River Ness. The site is located between the two apartment block buildings.




‘Kessock and the Black Isle’ by J.H.L Kennedy (1904) was in the personal collection of Andrew Paterson.

ANDREW PATERSON was two years old when his father drowned in the Moray Firth. Captain James Paterson was an experienced seaman and a powerful swimmer, who had been invited aboard the Bella to participate in the first of what was to be a series of regattas in the district. The Bella was a craft of 20ft keel, recently built by ships carpenter John Bremner, the principal originator of the regatta. It had been a gusty afternoon and a sudden squall across the water struck with great violence, casting the boat over on her beam ends. She rapidly filled and went down head foremost. Only two minutes elapsed from the time she was struck till she had disappeared and Paterson was taken down with her. Bremner and the other crewman, George Mackenzie, got hold of an oar each and one of the racing craft bore down rapidly on the two men. Still a mile away, Bremner sunk before he could be rescued. Mackenzie was saved.

moved to 15 Academy Street with a final move to 19 Academy Street in 1905, where it would remain until 1980. Paterson had a fine conception of the art of photography, keeping himself up to date with its scientific progress; the specimens he produced won much praise at exhibitions not only in the Highlands and the south but also abroad, where he was awarded many distinctions. He built up a remarkably fine collection of photographic studies of people distinguished in literature, politics, theatre, science and industry. He was a frequent exhibitor at the Royal Photographic Society in London, and details of his entries can be found in the catalogue records of the annual exhibitions of the Society (1870-1915). In 1901 his entry was My Wife. The following year the entry was of a partially-clad woman, Portrait of a Young Lady, and in the General Professional Photography section he showed Mrs P. In 1903 his entry was Head of a Man. Paterson did not enter an exhibit with the Society again until 1906. His entry was A Portrait (which had a price tag of 42/-). Another six years passed before his 1912 entry, A Highland Roadway. By 1912, Paterson was also experimenting with moving film, producing one of the earliest cinematic films in Scotland. Mairi: The Romance of a Highland Maiden was a silent black and white film, which ran just over 17 minutes. It was first shown to the public in the Central Hall Picture House, Academy Street, Inverness, on 29th June 1913.

Five months later Paterson’s wife gave birth to their daughter, who was called Jamesina and although the Paterson’s had come from a long line of seamen, none of James Paterson’s sons joined the merchant marine.

Advert from the 1914 edition of The Book of Inverness.

Paterson contributed scenic photographs to many Inverness tourism booklets like these.


Box label from the Paterson Studio.

Paterson was heavily involved with the local amateur dramatic scene and under his management Rob Roy was produced at the Theatre Royal Inverness in 1915, by a company of over 50 performers. He also acted in the production as Captain Thornton and was eventually responsible for several productions of this play over the years. On 17th May 1929 the new Northern Infirmary was opened in Inverness by HRH the Duke of York (Earl of Inverness), and Paterson contributed three images to


The Paterson Studio was located at the rear of the building in Academy Street which is now the Global Highland office.

‘Portrait of a Young Lady,’ Paterson’s entry in the 1902 Royal Photographic Society Exhibition in London.

the official programme. The acknowledgments page reads: “Mr Andrew Paterson, Photographic Artist, Inverness, has kindly supplied free of charge the two photographs of the old and new buildings of the Northern Infirmary and the large view of Inverness.” (This image can be seen in the centre pages of this magazine.) In May 1935, the Daily Record, which was the Official Organ of the Scottish Photographic Federation, utilised the talent of Andrew Paterson. Writing that his “name is known wherever the camera is regarded as a serious medium of expression in portraiture,” Paterson was brought to the photographic studios of the Daily Record in order to collaborate with their own regular staff and “provide that inspirational note that keeps the newspaper picture pages continually fresh and

1948 Membership Card for the Institute of British Photographers, forerunner of the British Institute of Professional Photography.



Paterson’s wife Jenny with their twin sons Hamish and Hector. Hamish became an architect and Hector, a painter in his own right, followed his father into the photography business.

interesting.” It also offered “to make arrangements with prominent citizens who would like to take advantage of Mr Andrew Paterson’s presence in Glasgow, to secure a portrait by his always individual hand.” Paterson married Jean MacKenzie MacLennan in the Station Hotel, Inverness, in March 1901 and they had three children, a daughter Constance and twin boys Hector and Hamish. Paterson outlived his wife by six months and died on the afternoon of 15th December 1948, aged 72 years, at his home Tigh-an-Uillt in Culduthel Road. Andrew Paterson’s death notice in The Times (Friday, 17th December 1948) noted that the funeral was held at 12 noon that day (the 17th) with interment at Ardersier. The stone reads: “In ever loving memory of our beloved father Andrew Paterson, photographer, who died at Tighan-Uillt, Inverness, on 15th December 1948, aged 71, and our beloved mother Jean MacLennan, who died at Tigh-an-Uillt, on 9th July 1948, aged 69.”

Newspaper cutting reporting Paterson’s death in December 1948.



Paterson headstone in Ardersier.


Andrew Paterson with his daughter Constance.

A contemporary letterhead listed his awards to date. Paterson won an Edinburgh Photographic Society award for portraiture in 1920.




THE ANDREW PATERSON STUDIO 1949-1980 HECTOR PATERSON became his fathers apprentice in 1921 but moved to Edinburgh in 1924 to apprentice the photographer Drummond Young while attending the College of Art. In 1937 he married Stella Saunders and during the Second World War enlisted in the RAF. Posted to the Middle East, he was seconded to the Royal New Zealand Air Force and with them served in Burma. After his fathers death in 1948 Hector carried on the business. A painter in his own right he became an art dealer as well, buying and selling pictures by Rembrandt, Raeburn, Sickert and other distinguished painters. He owned two horses and as honorary president of the Highland Riding Club frequently conducted parties of riders on treks all over Inverness-shire. After selling the studio archive to German photographer Andreas von Einsiedel (from which the images in the Andrew Paterson Collection come), he retired and closed the business in 1980. His wife Stella died in 1987, and Hector died six months later in 1988.


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Covering three floors, The Highlanders’ Museum has roughly 20,000 artifacts and an estimated 10,000 documents and photographs. It is the largest regimental museum in Scotland, outside of Edinburgh.


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‘6th Battalion The Queen’s Own Cameron Highlanders at the Battle of Loos, 26 September 1915’ by Joseph Gray.

Andrew Paterson, at centre with camera in hand, toured the western front battlefields after the war.

ANDREW PATERSON was the founder of the Camerons’ Comforts Fund during the First World War. It was on his initiative that the fund was set up, and personally undertook the task of packing parcels, night after night until the early hours of the morning, for the men serving in the different Battalions of The Queen’s Own Cameron Highlanders. He also organised the Camerons’ Fair, a remarkable effort which, with only six weeks’ preparation, raised over £4,000 for the Fund.


After the war he continued to take an interest in the welfare of the men who had served with the Camerons and was one of two trustees charged with the administration of the residue of the Fund. Because of his input, many deserving old Camerons whose claims were outside the scope of Regimental and British Legion funds were assisted in times of financial adversity. In 1918, Paterson commissioned the artist Joseph Gray (1890-1962), who had fought with the Black Watch during the war, to paint two war pictures, one of the 4th Seaforths and the other of the 6th Camerons at the Battle of Loos, and after the war he gave the latter painting on permanent loan to the Cameron Highlanders for the Depot at Inverness.



A true portrait should, today and a hundred years from today, be the testimony of how this person looked and what kind of human being he was.


Philippe Halsman (1906-1979) photographer

Doctor MacDonald, October 1929


PORTRAITURE ANDREW PATERSON became an internationally famous, multi-award winning portrait photographer, whose services were sought over several decades by many leading political and commercial figures of the day. But like any business, it was ‘bread-and-butter’ work which kept the studio busy, including commissions for portraits of local family groups, weddings, babies, local businessmen, clergy and stage actors. Paterson won in total 23 awards and diplomas, both national and international, for his work and gave many exhibitions both at home and abroad. In 1935 the Glasgow Daily Record noted that “his portraits...have been regarded as setting new standards of excellence in the expression of character.” He was one of those who helped to elevate portrait photography into an art form equalling that of an oil painting.










Many different studio backdrops and props were used and re-used over the decades. The tables, chairs, books and magazines appear repeatedly in the archive.


George Bernard Shaw (1856-1950), Irish playwright and co-founder of the London School of Economics. He wrote more than 60 plays and is the only person to have been awarded both a Nobel Prize in Literature (1925) and an Oscar (1938). In 1925 he was staying in Thurso; he had been ill and his wife had taken him to Caithness and then to Orkney for his convalescence, and it is probable this portrait dates from that time.


Sir John Barbirolli (1899-1970) was a conductor and cellist. Earlier in his career he was Arturo Toscanini’s successor as music director of the New York Philharmonic, serving there from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967.

John Murray (1898-1975) served during WWI and later attended the University of Glasgow, from which time this portrait dates. A theological student of the Free Presbyterian Church of Scotland, he also studied in America at Princeton Theological Seminary. He was a lecturer at Westminster Theological Seminary from 1930 to 1966.

Neil M. Gunn (1891-1973), the novelist and dramatist who was one of the leading lights of the Scottish Renaissance of the 1920s and 1930s. With over 20 novels to his credit, Gunn’s fiction dealt primarily with the Highland communities and landscapes of his youth. This portrait dates from June 1927.

FAMOUS PERSONALITIES AMONG the many famous people photographed by Paterson were Prime Ministers Lloyd George and Ramsay MacDonald, theatrical artistes John Gielgud, Noel Coward and Anna Neagle, the Czech statesman Jan Masaryk and the painter Sir William Russell Flint. In December 1929 a portrait study of Compton Mackenzie at the Scottish National Salon was specially commended by the critics. A gelatine silver print of the portrait (signed and dated by Mackenzie in 1931), was bought by the National Portrait Gallery in London from Bonhams in March 2011 for £600. In January 1931 his portraits of William Mackay Mackenzie, Reverend Professor John Macleod and

James Maxton, MP, were on display in the pictorial section at the Foundation Exhibition of the Scottish National Gallery and Museum of Photography in Edinburgh, where Paterson was congratulated on the excellence of his work. These three portraits are now held in the Scottish National Portrait Gallery. He built up a remarkably fine collection of photographic studies of people distinguished in all walks of life, and when the first Scottish PEN Conference was held in Edinburgh in 1927, it featured his gallery of famous literary personages, including George Bernard Shaw, Hilaire Belloc and many others with worldwide reputations.

Simon Fraser, Lord Lovat (1911-1995), the 25th Chief of the Clan Fraser and a British Commando during WWII. He commanded a raid on the French coastal village of Hardelot and was awarded the Military Cross in 1942. He led No.4 Commando on the Dieppe Raid, destroying a battery of six 150mm guns, and was awarded the DSO. He became a Brigadier and the commander of the 1st Special Service Brigade in 1944. They landed at Sword Beach during the D-Day invasion of Normandy on 6th June. During the Battle of Breville, he was seriously wounded while observing an artillery bombardment by the 51st Highland Division. His formal retirement from the army came in 1962, but his involvement in politics continued throughout his life, in the House of Lords and the Inverness County Council.



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Sir Compton Mackenzie (18831972) prolific writer and lifelong Scottish Nationalist, whose most famous works include ‘Whisky Galore’ and ‘The Monarch of the Glen.’ He served with British Intelligence in the eastern Mediterranean during WWI and in 1928 was one of the co-founders of the Scottish National Party.

Sir Robert Adams (1856-1928) was a Major General in the British Indian Army and a recipient of the Victoria Cross during the Tirah Campaign of 1897. He also served in the Second Anglo-Afghan War. He later became aide-de-camp to King Edward VII and was knighted KCB in 1912. He died in Inverness and is buried in Glasgow.

Osgood Mackenzie (1842-1922) was the creator of the famous garden at Inverewe. In 1862 he purchased the 12,000-acre estate of Inverewe and Kernsary and built a Scottish Baronial style mansion. He then set about creating a garden and within 40 years had established one of the finest collections in Scotland of temperate plants from both northern and southern hemispheres.

Paterson was not beyond a bit of guerrilla photography. In 1936 he ‘papped’ the Duchess of Sutherland, passing near his studio entrance on Academy Street.




PATERSON was not wholly studio-bound and took photographs out and about Inverness and the Scottish Highlands. Scenes shown here from around the town include the Russian cannons and Flora MacDonald statue overlooking the River Ness from Castle Hill, and the view of the castle and cathedral below, taken from Tomnahurich. At right, the building in Church Street housing the George MacLeod fishmonger and poulterer business was built in 1700 and demolished in 1900. The stroll in the woods at left was taken in May 1930.


Salmon fishermen on a Highlands river.

Landscape study of Beauly Firth from Kessock Ferry, with a wrecked ship’s bow on the beach.


Tourist party at the Memorial Cairn and Leanach Cottage on Culloden battlefield, c.1927.

Invergarry Castle c.1927. Built on the ‘Rock of the Raven,’ the castle was last occupied in 1746.

Greig Street Bridge over the River Ness was built in 1882.

The Glen Albyn Distillery on the Caledonian Canal. Established by Inverness Provost James Sutherland in 1846 it closed during 1917-1919 to be used as a US naval base. It was acquired by Mackinlays & Birnie (of Glen Mhor) in 1920 and finally closed in 1983. It was eventually knocked down in 1988 to make way for a supermarket development.



Ness Bridge and the River Ness, looking north from Castle Hill. This image appeared in the new Northern Infirmary official programme in May 1929. Ness Bridge was to be demolished thirty years later in 1959.


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BRIDAL PORTRAITS THEN, as now, for the bride and groom their wedding day was considered to be one of the most important days of their lives, and over the years Paterson recorded thousands of couples on their big day.

Mrs Norman Macaulay, Stornoway








Late 1940s Paterson Studio advert from the Inverness Royal Academy magazine.







BEAUTY photography is the type of portraiture where the object is to depict women at their most glamorous and romantic and is specifically aimed at women. Top modern beauty photographers are able to bring the right expression out of the subject at the decisive moment, and Paterson was no exception.

Mrs Barr, Helensburgh












ONE particular technique Paterson used to great effect was virtually new at the time – the soft focus lens, coupled with subtle lighting effects. The soft focus effect is used in glamour photography because the effect eliminates blemishes and, in general, produces a dream-like image. Many think of these lenses as merely a way to ‘erase wrinkles,’ and although very flattering


for portraiture, during the late 19th and early 20th centuries, soft focus lenses were popular for a number of subjects. A group that called themselves ‘Pictorialists’ used them on a wide range of subject matter. They were contemporaries of the Impressionist movement, and the soft focus lenses they used created a similar feeling in their photographs.






PATERSON’S SILENT MOVIE LANDMARK BELIEVED to be one of the earliest narrative films made in Scotland, and almost certainly the first to be made in the Highlands, Andrew Paterson used the natural setting of the coast at North Kessock to make a silent movie involving smugglers, which premiered in the Central Hall Picture House, Academy Street, Inverness, on 29th June 1913. In 1912 one of the Gaumont area salesmen selling photographic equipment persuaded Paterson to buy a cine camera. Paterson was much involved with amateur theatricals in Inverness at the time and decided to experiment with the new medium. During the spring the storyline was written by Paterson and his wife Jenny. Paterson owned a holiday cottage in North Kessock where the family stayed each

summer, so locations were chosen close by in order to facilitate transport of the camera, equipment and cast. Locations include the shoreline east of the present Kessock Bridge at Kilmuir, below Croft Downie (exCraigton Cottage), and possibly an exterior scene filmed at Kessock House. Mairi: The Romance of a Highland Maiden, his silent, black and white film, runs just over 17 minutes and is the dramatised account of Mairi, a young girl in love with a Revenue Officer, who is caught up in a fight to catch smugglers. In 1953 it was re-edited by James Nairn, who added a written introduction, intertitles and credits. This is the version that has since been preserved, and it was shown again in 1983 and 2012 at Eden Court Theatre.


Andrew Paterson, camera in hand, flanked by his wife and daughter on the shoreline at North Kessock in later years.





Written, produced, directed and filmed by Andrew Paterson, the cast included local amateur thespians Evelyn Duguid as Mairi, Tom Snowie, Dan Munro, Jack Maguire, Dan Dallas, Alex Paterson, Hector McIver and Luis Lyon. The story involves Highland whisky smuggler Lovat MacDonald, whose daughter Mairi is in love with Revenue Officer Bates. Alpine, one of the smugglers, is also in love with Mairi and swears revenge. The Revenue Officers follow the smugglers to their cave hideout, and a fight ensues in which Bates is dashed down to the rocks below. Mairi sees Alpine watching over the still form of her lover and seeks help, whereupon Bates recovers. The other smugglers are smoked out of the cave. At the end Mairi reconciles Alpine with Bates, and everyone lives happily ever after. The scene where the two men are fighting on a cliff top, before Bates is exchanged for a dummy and thrown over the edge, is a brilliant example of early



Then and now location sites for the film at North Kessock. The programme featured a full synopsis for the film written by Andrew Paterson in 1912.

special effects, and the film stands in comparison with most of the professionally made films at that time. It was a considerable achievement for a photographer and cast without any film experience. As a portrait photographer, it would have seemed logical for Paterson to feature a substantial amount of facial close-ups in the film, a trait of the silent movies where close-ups were used to display emotion, but, interestingly, there are none in the film at all. Leading man Tom Snowie (1892-1972), a cabinet maker also heavily involved in the local dramatic scene, eventually went on to play Rob Roy for many years. Tall, of fine physique and commanding presence, Snowie made an imposing Rob Roy in his Highland garb. He was later a manager of the old Central Hall Picture House but never mentioned his participation in the film during his lifetime, and his grandson Peter Snowie only learned about the existence of the film when it was shown at Eden Court in 2012.



Tel: 07757 821373 The NK&DLH Society covers an area rich in thousands of years of history and we invite anyone with an interest in local history to become a member and enjoy the many benefits including; opportunities to research and develop local history skills, talks with a topical interest by guest speakers, exhibitions from ferries to castles and crannogs, field trips, our website where we welcome information and offer help with enquiries, an annual newsletter and member discount rates for our printed publications.



Leading man Tom Snowie in later years. He never mentioned his involvement in the making of the film.

Scottish Charity SC035034

Evelyn Duguid (1892-1961), who played the title role of Mairi in the film, also featured in the 1915 stage production of Rob Roy, playing Diana Vernon. In 1920 she married a Canadian barrister, Winfred Withrow and emigrated to Nova Scotia. She is remembered as a vital, enthusiastic woman, with a passion for all things Scottish, and described as “the spirit and life of the Celtic Society,” encouraging people to learn Scottish dances and songs. She also stayed involved with local amateur dramatics. Paterson later made two short films of Scottish scenery on behalf of the old Highland Railway Company, taken from the footplate of one of their railway engines. Unfortunately, he made no further films because he was not that impressed by the new moving picture technique. When interviewed for the Glasgow Herald in June 1983, his son Hector Paterson said: “The story of Mairi was written by my father and my mother in 1912 and filmed on the rocks and shore of North Kessock, on the Moray Firth. My father bought a cine camera from Gaumont Graphic, and after a short period he decided he was wasting his time going out and doing cine work, and he asked the Gaumont Graphic people to take the camera back, which they did with regret, but my father insisted that portrait photography for him was much more important.”

THEATRE STAGE productions by the Inverness Amateur Dramatic Society were a highlight of the cultural calendar in Inverness in the 1920s and 1930s, and Andrew Paterson interested himself in these locally produced theatricals, even ably playing the part of Captain Thornton in stage versions of Rob Roy. The performances, which raised money for various charities, were often held in the Central Hall Picture House, and many of the performers gathered in the Paterson studio to pose for publicity and promotional pictures. It was from this group of friends that he was able to cast his 1912 film, Mairi: The Romance of a Highland Maiden. The film’s leading man, Tom Snowie played Rob Roy for many years in several Andrew Paterson-produced versions of the play, and the cast usually included several notable local characters. Alexander Dallas’s performance as Baillie Nicol Jarvie was often acknowledged as a highlight, as was that of Donald Dallas (also a Mairi participant) as DougalCratur. “A perpetual source of amusement,” reported The Inverness Courier of the 1922 performance of Rob Roy. Miss Eve Macguire as Mattie in the 1932 production of ‘Rob Roy.’




Carrie Cruickshank as Mimosa, Mrs Colin Macleod as Molly and Duncan Macpherson as Imari in the 1927 production of ‘The Geisha.’



Silent film actor Matheson Lang, who appeared in the movie ‘The Wandering Jew’ in 1924, reprised his role on the Inverness stage at the Empire Theatre in 1936. He received a rapturous welcome and at the end of the performance was recalled again and again.

The 1915 production had also featured Mairi leading lady Evelyn Duguid as Diana Vernon (with her sister Jean as Helen MacGregor). It was presented at the Theatre Royal Inverness by a company of over 50 performers under the management of Paterson.


The Rob Roy ‘capture scene’ on stage, portrayed by Tom Snowie in the 1926 production. Andrew Paterson is on the far right.


...the theatre was filled up to the last inch of standing room...on each night people turned away from the doors disappointed.

The Inverness Courier, Rob Roy review, 2nd March 1915

In 1932 the Sir Walter Scott centenary was celebrated with a production of Rob Roy, once again featuring Tom Snowie, Donald Dallas and Paterson, with Carrie Cruickshank as Diana Vernon. A reviewer wrote “Inverness has seen many fine performances of this production, but we doubt if there has been such a satisfying one, or if it has been presented so completely as it was last night...Mr Tom Snowie, who is thoroughly familiar with the part of Rob Roy, gave a strong and forcible impersonation of that character, and Mr Donald Dallas as Dougal always delighted the audience with his pungent manner of expression and fearless and defiant gestures...Much credit is due to the producer, Mr Andrew Paterson, and the stage manager, Mr Tom Snowie, for the success of the performance.”


Frances Mackintosh as Diana Vernon in the 1943 stage production of ‘Rob Roy.’





BETWEEN 1895 and 1980 the Andrew Paterson Studio accumulated well over 100,000 glass plate and film negatives, but they disappeared from the scene after Hector Paterson, who was initially going to destroy them, sold the archive to the German photographer Andreas von Einsiedel (, who required two vans to take them away. Scotland lost forever (as thought at the time) a vast archive of early photography. “The irony is that the only important Andrew Paterson work left in Scotland is that film which he made in 1912,� wrote reporter Joe Mulholland in the Glasgow Herald. In the late 1990s the archive resurfaced but it was broken up in 2001, with many scenic and military images being dispersed to other collections. The remaining bulk of the archive, consisting mostly of the portrait legacy of Andrew Paterson, was once again saved from destruction and put into deep storage until 2008, when the Scottish Highlander Photo Archive was founded to preserve the images, with the added intention of uploading them online for use by genealogists and family history researchers.


The Scottish Highlander Photo Archive offers a unique and free resource for genealogists seeking to trace their Highland origins and looking for a possible vintage photograph of their ancestors. With thousands of portrait photographs of people spanning the early decades of the 20th Century, and with the ability to cross reference data with other users, the database enables Scottish expatriates and descendants the world over, who are interested in their family history, to search the archive for family matches and/or likeness. Searches can be made using any of the following criteria: Full name, surname only, town name, street name, house name, subject or content using words like baby, wedding, bridal, uniform or kilt. There are many photographs of places, scenics, and groups of people. These images can be filtered by simply entering an asterisk (*) into the search field. Similarly, all the unidentified images can be isolated by entering a cross-hatch (#). To see all the images currently online, identified and unidentified, enter a full stop (.) into the search field. The original log book is unavailable, and this has caused some difficulties in identifying who or what some of the images are of. But in most cases, all negatives are held in paper envelopes with a reference or code number written on the outside (and most also have at least the surname of the sitting individual, dates and/or address details). However, there are hundreds of photographs in the archive that have no reference at all, and we encourage people to contact us with any possible identification information, whether by commenting directly on the image website page or e-mailing us at


(In this magazine, if there is no specific picture caption, the names of identified people are printed in a reverse panel within the photograph, as above. Images that are unidentified have no such name panel.)

The image database of the SHPA website presents the portraits of the Andrew Paterson Collection in an easy to use, searchable format for family history genealogists. The APC website presents the biography and career of Andrew Paterson and his studio. If you have any information or biographical data on Andrew Paterson please contact us at

Some useful contacts for those interested in vintage photography include: (Scottish Soc for the History of Photography)


GENEALOGICAL RESEARCH INTO FAMILY HISTORY MOST genealogists start their research by gathering family stories and documents. These create a foundation that is used for the research, and it involves evaluating and examining historical records to brush for evidence about kinship ties, relatives and ancestors, and the events that happened in their lives. As a rule, the research begins from the present and works backward through time. Pedigree charts and family group sheets are normally used to keep track of all the collected material. These used to be handwritten, but with modern technology they can be generated from genealogical software. It is important to know the type of information you will be looking for when conducting genealogy research, including: Family names – These are some of the most important pieces of information and, ironically, one of the greatest source of confusion for researchers. Given names – These are the names that were given to an individual. First names are usually very tricky to use as they are normally interchanged with nicknames; therefore, middle names also come in handy. Place names – This is where you have to look for life events and the precise locations of ancestors’ residence, core elements of the research quest. Dates – This has to be approached with a lot of caution as they can be easily mis-transcribed because they’re usually very difficult to recall. You can use civil

PATERSON’S INVERNESS PORTRAITS Publication © 2013 Hargus Ltd. Revised © 2016 All vintage images © Andrew Paterson unless otherwise indicated. COVER: Main woman image MOIR, group image unidentified, Inverness and the River Ness. Small images from left to right PADDON, RAMSAY, BOAR, CAMPBELL. Frontispiece image MILLAR. PUBLISHER: Adrian Harvey DIRECTOR: Fergus Weir PRODUCTION: Andrew O’Connor Produced on behalf of the Scottish Highlander Photo Archive and the Andrew Paterson Collection by Hargus Ltd. For archival enquiries and contributions, please contact For advertising or editorial enquiries, please contact While the Andrew Paterson images make up the bulk of the Scottish Highlander Photo Archive portraits, there are many


registrations and birth dates that provide more accurate information. Occupation – This can be vital when it comes to distinguishing two different people and understanding the ancestral life better. The occupation can represent a person’s political interest, migration pattern and social status. When using this, keep in mind that occupations and titles normally change over time. Some useful initial contacts for those researching family histories in the Scottish Highlands include: (Scotland BDM Exchange) (Scottish Archive Network) (National Archives of Scotland) (Scottish Assoc of Family History Societies)

Helping you to visualize your heritage.

other images which have been sourced elsewhere or are photographic collections or individual photographs submitted by members of the public. We will remove any image from the online database upon receiving a written request, although the image will still be held within the archive. THANKS TO: Susan Skelton, Inverness Library; Lesley Junor, Inverness Museum & Art Gallery; Helen Trompeteler, National Portrait Gallery; Kim Macpherson, Scottish National Portrait Gallery; Michael Pritchard, Royal Photographic Society; Murray Dobbie, British Institute of Professional Photographers; Claire McKendrick, Scottish Theatre Archive; Claire MacKenzie, Scottish Screen Archive; Paul Goodman, National Media Museum; Monica Thorp, Scottish Society for History of Photography; Cara MacDowall, University of Glasgow; Ross Martin, Inverness Camera Club; Mick Low, Amanda Galleitch, Highlanders' Museum Fort George; Catherine Cumming, John McDonald, North Kessock Local History Society; Peter Stubbs, Edinphoto; Mandi Munro, Highland Memorial Inscriptions; Alastair McGregor, Watermill Enterprises; Brian Gallagher, Daily Record; Marcia Hammond (USA); Heather Watts, Rhonda Brown (Nova Scotia); Mary Horlock, Dave Conner, Robert Preece, Eona Macqueen, Frances Maclennan and Margaret Paterson. With special thanks to Peter Snowie, Andreas von Einsiedel and Andrew Chalmers.


Inscription and photo of any stone from cemeteries found in Badenoch & Strathspey, Caithness, Inverness-shire, Moray, Nairn, Ross & Cromarty and Sutherland.

Also Gibraltar and a few from Portugal and the United States.