When raising a dram to bring in the bells at Hogmanay this year, spare a thought for the wonderful 1898 James Chalmers designed building at 64 Waterloo Street. The Ghost Sign found here for the Distillers Company Plc. leaves the trace of Wright & Greig Ltd. who were one of biggest whisky traders at the end of the 19th century.

The company started life as a small trader in Buchanan Street in 1868, before moving to West Campbell Street in 1876. The business grew rapidly in the license trade and before long they had to expand to bigger premises, moving once again to 8 Cadogan Street in 1888. Although their Cadogan Street premises, Cadogan Buildings, which sat on the corner of Wellington Street, was a large building with the company occuping 12,700 square feet and the rest of the building let as offices, Wright & Greig were keen to have their own purpose built premises to house their own cellars, blending and sample rooms, and their own offices.

By 1897, the company’s blended whisky, Roderick Dhu, and Shaugrun Irish Whiskey were both a big success, particularly Roderick Dhu, Old Highland Whisky, which garnered the higher profit of the two, due to it being exported globally. Therefore work began on the Waterloo Street premises on which we find the Ghost Sign for the Distillery Building.

The now B-listed Waterloo Street building is adorned with a statue of Rhoderick Dhu over the door, a historical character lionised in Walter Scott’s famous poem ‘The Lady of the Lake’ published in 1810. Set in the Trossachs, the poem depicts the 16th century character Rhoderick Dhu of Clan Alpine, who led the rebellion of the Highland Clans in an uprising against King James. While over the oriel on the right corner of the building is a statue of a Highland Lass with her malting shovel. There are turret balconies with barley-sugar-columns, all sprouting miniature cannon, originally intended to be occupied by figures of the seasons. The building was designed and built to accommodate large cellars, blending and sample rooms, and offices. The building works cost £11,500 and was a great advertisement for their trade and most profitable product, Roderick Dhu whisky.

Wright & Greig later went on to acquire Dallasmore Distillery in Moray in 1899 which they renamed Dallas Dhu (the Distillery is now a museum under the stewardship of Historic Scotland). Unfortunately Wright & Greig’s booming trade didn’t last long. The company finally went into voluntary liquidation in 1919. However, bottles of Wright & Greig’s Special Blended Scotch Whisky, as well as Roderick Dhu, still continue to be produced and exported by Glen Ila Blending Company, and there is also a pub just across the road from the old Distillery Company building named after Rhoderick Dhu!

When I signed up to volunteer for the Ghost Signs of Glasgow project, as a Scottish History graduate, my first research assignment was to help research signs in the south side of Glasgow to go on the Ghost Signs of Glasgow Southside map. As I was isolating during the pandemic, the majority of my research began online (no leafing through old papers like Gandalf learning the history of the One Ring for me). Fortunately, as a starting point the team sent me photographs of the signs for the map and a list of helpful websites with online records.

Many of the Ghost Signs of Glasgow social media posts explore the history of the business owner or company whose name is clearly visible on the sign, but the Southside signs I was tasked with were what the team like to call “mystery signs”, these are partial signs with only a few letters uncovered which are barely legible. Later in the pandemic an entire word became visible on one of the signs, unfortunately that word was “GLASGOW” which didn’t help to narrow the search much! 

So, my assignment was to tackle the challenging “mystery signs” with no name visible to search for. My research then had to start – and maybe even end – with the addresses, and the buildings themselves. The National Library of Scotland website contains searchable digitised copies of Post Office directories from 1773 to 1912, so this was a good place to start with only an address to work with. A look on the “street view” feature of Google Maps is also a useful tool for examining the signs in context and how they looked even a few years before. When scrutinizing Google Maps closely I discovered a sign on the adjoining building to the one I was researching reading: “Speirs Place”. According to the Historic Environment Scotland website this adjoining building was Category “B” listed while the end building was merely Category “C”. This made me ponder whether the adjoining building was a later addition, and whether there was a piece of local history to explain why the street name was changed to “Queen Mary Avenue”.

A trawl through several old maps on various websites provided no evidence that the street was elongated or renamed, while the Post Office directories indicated that “Speirs Place” was only ever a name for a building on Queen Mary Avenue. It seems that giving tenement buildings their own names used to be a common practice, but that this practice was later discontinued, understandably, because it was confusing for post office staff. Therefore, I’d found another ghost sign in the process of researching the mystery ghost sign on the building adjacent!

I had a bit more good luck when researching another ghost sign, on the corner of Allison Street and Garturk Street. Again, this was one of the challenging “mystery signs”. The few legible letters read “ROC”, suggesting the word “GROCER”. According to records it suggests this was the sign for Margaret King’s grocery, listed in the Post Office directories at that address from 1892-1910. As there are a number of grocers listed at this location it seems this shop has always been a grocery store since the building itself was constructed.

The directories also provided some intriguing clues, for those interested in following a family’s history: after 1910, the shop and the home address belonged to John King, though the shop is still listed as Mrs King’s – therefore this suggests that her son inherited the family business. Other clues suggest that Mrs King used to live above the shop at 21 Garturk Street, and also inherited another shop elsewhere on Allison Street from a husband named Edward before moving to the shop below her flat. There are a number of other grocers named King listed as operating in the same area over the years- could these have been relatives? Although these rabbit-holes take us further away from the sign in question, I found it interesting to speculate about this family’s story, and how they would have been familiar faces within the community.

Helping to research the mystery ghost signs for the Ghost Signs of Glasgow Southside Map was a challenging journey in more ways than one, but mapping the stories of the lives of the people who once lived and worked around this part of Glasgow was a delight, and hopefully provides an insightful look into the past for those that choose to use the maps for their own self-guided adventure!

You can now download and print the Ghost Signs of Glasgow Southside Walking Map here

In 1979 a warehouse tenant at 9 Bath Street in Glasgow’s city centre ceased trading and their small company sign that had adjourned the sandstone side wall since 1947 was painted over. As late as 1998 (picture below) paint still covered the sign, though the Scottish weather had eventually started to peel away the paint and uncover the original sign. Had it not, we may never have known about J Davidson & Co, auctioneers and appraisers who started life back in 1846.

In 1846 John Davidson opened a new business as an Auctioneer and appraiser at 62 Argyle Street. He was from a family of coffee and spice merchants and lived at 123 (Walmer Place) Hospital Street in the Gorbals. Trade must have been good as the following year the Auctioneer moved further along the Street to Turners Court at 87 Argyle Street, where they stayed until June 1858. 

This section of Argyle Street, from the Trongate and along Queen Street, had quite a number of auctioneers and appraisers at that time. Argyle Street itself was lined by “courts” on both side of the street, Turners Court was one of eight of these. The area was described by Andrew Aird in his book, ‘Glimpses of old Glasgow’: “At 87 Argyle Street was Turners Court, street-like in its buildings and industries of various descriptions with dwelling houses of a superior class.”

An advert for J. Davidson & Co. found in the 1856/57 Post Office Directory, shown below, allows an insight into the company and the work they undertook.

On Saturday 12^th June 1858 adverts in the local press advised of the company moving to 42 Argyle Street opposite the famous “Bucks Head” Hotel. The advertisement below is from the Paisley Herald and Renfrewshire Advertiser.

They stayed here until 1877, and due to the many changes taking place in Argyle Street with older buildings being replaced, and the train line expansion from the St Enoch train station they moved across the road to number 43 and then to number 22 in 1884 where they stayed until 1929. It was during this time at 22 Argyle Street they became more prominent within the city, taking an additional showroom at 13 Queen Street, as evidenced in an advertisement from the Fife Free Press & Kirkcaldy Guardian from Saturday April 3^rd 1909.

A mark of the respectability J. Davidson & Co Autioneers had garnered by this time is that the Scottish branch of the British Red Cross Society chose J. Davidson & Co to host their fundraising “Free Gift” sale, on Thursday 28^th June 1917.

The sale of items donated from generous Glaswegians raised over £246, which is the equivalent of almost £18, 200 in today’s money. One notable donation to the auction is item 96 – 12 pairs of ladies Glace Persian 1 bar Slippers from Messrs. Bayne and Duckett, the longstanding boot and shoe retailer.

By 1929 J. Davidson & Co moved once again, this time to 182 Trongate, and then in 1947 to 9 Bath Street which is where we find our Ghost Sign, on the side of Albert Chambers. This free renaissance commercial building with shops on the ground floor was designed by Bruce and Hay and built in 1901. The warehouse space at the back of the building was still classed as Bath Street, not an alley or lane and not an extension of East Bath Lane, located opposite. The elevation plan of the side of the building shows the chamber’s grandeur, with a sliding gated entrance to the warehouse courtyard, and a door to its side for the office entrance at 9 Bath Street for J Davidson & Co. where we find the small Ghost Sign which advises customers on Bath Street that J Davidson & Co were located “first right”.

 The below picture “Then and Now” picture of the street shows the entrance door “first right” with the wooden sign above the door reading ‘J Davidson & Co, Auctioneers’

A photograph from 1969 shows the access to the auctioneer’s warehouse, the courtyard still has the wonderful ceramic brick atrium, and the flashings from the glass roof that once covered the courtyard are still visible. However the buildings on the left and rear were demolished for the “improvements” to the area associated with the Buchanan Gallery build. 

J. Davidson & Co Auctioneers remained in the warehouse at 9 Bath Street until it stopped trading in 1989. Having operated in Glasgow for over 130 years it was then quickly forgotten, until time and weather revealed the old ghost sign once again! The warehouse now forms part of the crazy golf outlet “Jungle Rumble Adventure Golf” with several of the golf holes in the very site where the J. Davidson & Co. office and warehouses were. 

Images Credits

Newspaper clippings, post office directory, Building Plan courtesy of The Mitchell Library Archives.

Black and white photographs Historic Environment Scotland (Canmore)

Colour pictures by the author

I first came across Ghost Signs on Instagram. I think I had posted a snap of a fading painted sign and when I searched around a bit I was introduced to the expression. Once an entity has been named you can’t help noticing it everywhere.

Ghost signs are peppered all around the city centre. It’s the nature of the beast. The moniker itself is evocative, capturing mystery and fascination in these relics from bygone times, sometimes living memory, often a lot older than that, deep in the Merchant City of Glasgow.

When there was a guided walking tour of Ghost Signs during the Glasgow Open Doors Festival in 2019, I soon began honing a sharp eye to detect the traces of lettering on walls and doorways, over shop windows and on tenement gable ends. The guides had stories to tell: of Mr Benjamin who sold many types of natural sponges, imported from sparkling tropical waters to the factories, workshops, stables and homes of Edwardian Glasgow; of Ann’s shoe shop at the Barras which specialised in small sizes; of the warning to small boys not to play marbles or balls in the courtyard behind Royal Exchange Square. Fellow walkers on the tours pitched in with their own memories or local knowledge and made the excursion most enjoyable.

I even spotted some gilded fonts emerging from under flaking layers of paint in an alleyway which had not already been noted. There’s a little spark of joy in that.

At the end of Lockdown I was looking round for new projects and the Ghost Sign Project was looking for volunteers. Researchers, photographers, social media posters and tour guides. Spark of joy! I sent off my details and offered my services as a humble researcher. Yes, I thought that learning how to use archives would be a useful skill. I’m not bad at googling and writing up results… Maybe in time, I could be good enough to help with a walking tour? I was accepted and duly supplied with a ghost sign to research. Burley’s Hammer Shaft Factory in Ibrox was a wonderful gift as there was an abundance of information about the long and prosperous history of this company. However, another ghost sign for a Strathbungo motor mechanic business near to where I grew up, was more of a task despite this business having existed in my own living memory, it was difficult to draw anything like the vivid tale of the hammer shaft makers. Another ghost sign for a southside pawnbrokers’ sign, dating back to the early 20^th C til only a few years ago, was nigh impossible to squeeze the slightest flicker of life from. From this inspiration, I found my forte as I was quickly promoted, or hustled, into the role of tour guide for this year’s Open Doors Days!

With the knowledgeable Fiona as my leader, it was really fun and interesting.

Glasgow’s true commercial peak was the era of the Victorian Empire. Many of the ghost signs we see in the city centre open a little crack of light to the rich world that prevailed but also to the lives of the smaller businesses that glued its edifices together.

A hat maker here, a scrivener there, a typewriter repair business! In those old times, the signwriters prepared their own paints and mixed them to weather the elements and the grime of the city.

Today’s business signs are pre-made plastic and are exchangable and disposable. Still more businesses are digital and inhabiting online market places. In another hundred years, perhaps we will be excavating some archaic form of the internet to discover such tasty morsels of history?!

For this month’s Blog, we’re talking to Building Conservator & Educator, Darren McLean, for some insight into why many of the Glasgow Ghost Signs have survived for so long.

J: Can you give us an introduction to yourself and the work you do Darren? 

D: Well, I’ve a passion for historic buildings and I’m fortunate enough to make a living not only by hands-on conservation, but teaching it too. I spent considerable time in Italy, where I studied traditional Marmorino marble based plastering in Venice, as well as the conservation of mosaics in Ravenna. In 2018, I became an adjunct assistant professor at The University of Hong Kong, responsible for the materials and techniques modules of the postgraduate conservation curriculum. I’ve also taught for heritage organisations, such as Historic Scotland, Glasgow City Heritage Trust, National Trust Australia, and the Yangon City Heritage Trust. I mostly work with wood, masonry, lime mortars, natural cements, mosaics and tile. I’ve also (very relevant to this topic) recreated and tested various historic whitewash, paint and varnish recipes.

J: You have a great understanding of the materials and techniques used in historic buildings, but you also know what went into the creation of many of the Ghost Signs we find around Glasgow that have helped to preserve them so well. 

D: Sure, and a good place to start is to clarify the different types of ghost signs we find today. In general, signs that involve paint were applied on wood, masonry and occasionally onto glass – something you tend to see more often on the continent. The science of making durable paints for all these substrates was well known centuries ago. It was routine for painters to produce their own paints, prior to the advent of ‘off the shelf’ tinned paint, and even then, they often needed to be manually tinted. Books relating to the architectural trades rapidly spread information & instructions on the production of materials, including recipes for paint. Many books offered advice on durable paints for signage, as well as which paints to avoid that were not so long lasting. Something very important when painting a difficult to access tenement gable! 

To look at signage on masonry, large wall signs were first drawn on paper, then the ground (base) was applied to the masonry wall and chalk lines used to create guide lines for the letters. Often these were drawn with broken clay pipe stems, sold for this purpose direct from factories such as the one located at the Barras. The best way to make painted signage last was to have a stable and durable base, often a type of whitewash (the name for limewash until the early half of the 20^th century). Various additives improved adhesion and durability. Oil based paints (typically Linseed oil) created a durable ground, with linseed often added to whitewash to improve its adherence and resistance to erosion. Whitewash was always applied hot in the past, which vastly improved its ability to bond with its substrate. Whitewash is one of the cheapest types of ‘paint’ available, even today. This cost advantage was very important, as advertisers weren’t only painting shopfronts and building gables, they even painted enormous advertisements onto seaside cliffs – not a feasible option with expensive paints.

When painting shopfront glass, paint was applied to the inside, although not exposed to wind and rain, this could suffer from exposure to UV light. Nowadays synthetic pigments are often used to withstand UV light, however the pigments used in the past were predominantly natural, and derived from earth minerals which were UV resistant and colourfast: Ochre, umbra, sienna, burnt sienna are all extracted from various clays. While lamp black – a deep black pigment – is made by burning vegetable waste. Signage painted onto wooden shopfronts used oil paints, and occasionally gilding, then were protected by varnish. These were frequently installed at an angle, so the top of the sign is proud of the base. This created a slightly sheltered situation for the writing and, in some situations, there is a stone course, which is part of the building, directly above the timber. Both these provided protection for the paintwork, meaning that they are amongst the most frequently seen types of ghost sign. 

Unfortunately, paints could include some nasty stuff, such as lead, which most everyone will know is toxic. But there was worse: a wonderfully deep vermillion red was obtained from mercury sulphide-rich cinnabar, antimony and arsenic for yellows. Antimony was helpful as it slowed the drying of paints. Even reasonably safe products, manganese for instance, became toxic to those manufacturing the paints, due to the frequency and duration of contact, and inhaling dust.

J: Given that some of the additives used in sign painting could be toxic, were they also harmful to the fabric of the building?

D: Not really, where the masonry of buildings has been painted for advertising, it tends to be up high for visibility and doesn’t have the same deleterious ‘clingfilm’ effect as painting the entire building. It’s somewhat counter-intuitive, but high up walls will get wet, but also dry out faster as there’s more wind to assist evaporation. Even where ghost signs appear near ground level, such as the Regalia Whisky ghost sign in Partick, they don’t cause the kind of harm modern masonry paint does, the old paint was different & often weathered back, allowing evaporation to occur.

J: Are there less toxic materials around today that could produce the kind of longevity that the old methods produced?

There are, of course, highly durable, modern specialist paints available nowadays – think of paint used for airplanes, ships & oil rigs. But there are also durable water-based paints, that are far less toxic than historic paints. If someone were to repair or repaint a sign and permeability was a concern, I would recommend silicate paints which, although expensive, are available in a wide range of colours and have been in use since the late 1800s. They may not be as permeable as whitewash, but are far superior to plastic paints and very long lasting when applied correctly. 

J: Heated debate has arisen around conservation of Ghost Signs. During our Conference on Ghost Signs last year, we held a panel discussion on their preservation, bringing together Ghost Sign sites from across the UK & Ireland. Whilst our combined efforts do much to document & archive these ephemeral works, there were mixed views on conservation. Can you offer a view on the various approaches such as protecting with some form of coating, reviving through repainting, or leaving them to fade?

D: “Heated” is right, you could say that about almost every aspect of building conservation! Ask three conservators this question and you’ll get three (or more!) replies. The protective coatings option, can be a double-bladed sword. Few are as breathable, or permeable, as portrayed. With consequent dangers of moisture building up behind them and creating a blister effect, pushing the surface of the masonry away. Personally, I don’t like the idea of allowing things from the past to vanish, where it’s feasible for them to be sympathetically and respectfully kept for future generations to appreciate, or learn from. This may involve cleaning, or sympathetic painting to keep its present state. Having said that, bringing these things back to their original vibrant colours is too far the other way for me. It risks misinterpretation through conjecture. I like the Italian attitude, where what’s visible is conserved as sensitively as prevailing conservation practices allow, and where there are missing areas of a wall painting or mosaic, modern materials are used to recreate the missing section. This has no impact on the nearby original historic fabric, yet tells a story, educates and, should more information become available, is easily removed or modified. 

J: There seems to be a lack of regulation to protect this relatively new aspect of our built heritage. Some host buildings for ghost signs have listed status, such as the St Andrew’s Print Works building on Pollokshaws Road, but what’s your view on a legal framework that ensures ghost signs are considered on planning applications?

D: For me, retention of a building’s historic fabric is at the heart of conservation. The majority of historic buildings in Glasgow are residential properties in private ownership. A considerable number are in conservation areas or listed. If listed, it’s because the building is linked to a historical significance, be that something famous – or infamous – political, religious, artistic, or scientific. So listing is really an acknowledgement of historical events. Where a ghost sign has survived, and is visible, it IS a piece of history. Indeed, ironically, the signs can be more honest than the buildings themselves, which may have had numerous alterations over the decades, many of which are not obvious. 

A commonly used term in conservation refers to the “Character defining elements” of a building’s physical attributes. These can be carved stone facades, ornate plaster ceilings or something much more ordinary. The things that make a certain building interesting, if not unique. What can be more character defining than a massive painting on the side, or a subtler one painted on glass? A sign which reflects the lives of people around the time they were painted & that became a reference point for generations of local people!

I happened to be scrolling through Twitter one day and saw a post about Ghost Signs of Glasgow. Intrigued, I started to follow it and enjoyed the idea of all the past lives they would bring to light. They put out a request for volunteers to help start the Ghost Signs journey. I was just starting my degree in history and social science and this just seemed like fate and so I applied for the roles of photographer and researcher.

Almost three years later I’m still doing, and loving both. Researching historical signs not only gives a glimpse of the history of said signs, but of the area at the time. Both of which really link in with my area of study. This felt like more than just a volunteering hobby, it felt like a great bridge between Uni life and my ‘outside’ life. And taking pictures of signs that we found was a great way to retain their legacy. Learning new research skills, and just getting to be plain nosey, finding out random facts about signs I walked by was great. How often do I walk by things and
take them for granted because I’m rushing, running for the bus, to Uni, to work, to the pub (ah, the days when you could go to the pub…or indeed to Uni!). It was a great spark to reignite my  passion for this city.

Not only that, but we got the chance to make our own hand painted signs at a workshop at Glasgow City Heritage Trust. What a laugh it was trying our hand at doing this the original way.
Hats off to the people still doing things by hand, it is impressive work! We also ran talks and it was great knowing people were so interested in the project that they’d signed up to attend – and it was a sell out and it definitely pushed a few of us out our comfort zone, talking to a packed room!
We weren’t forced obviously, but it was good to push our boundaries! Listening to
everyone speak about their roles, from mapping to tour guide, or photographer to graphic designer, it was great for both the audience and for us. It was lovely to hear the comments about our signs and their stories and hearing other people’s stories from the past too really made our night, as did the well-earned beer afterwards.

The stories of the past really do engage us all and it is such a fabulous privilege to play a small part in rediscovering hidden gems that allow us to retain the magic of Glasgow past.
Obviously, the chance to go out and get pictures of ghost signs has slowed in this pandemic world, but everyone can join in and send a snap of any they see tagging us @ghostsignsgla.

We can all keep the ghost sign hunting going in our own local areas. We’ll continue to discover the treasure trove of history that lies behind the signs of the past. The ghosts of Glasgow.
This role has really reminded me to always take a minute, to stop, to look up and appreciate the beauty that is our city. It is magic.

Earlier this year the community in Springburn celebrated the news that the Talisman Bar would finally be demolished. By April 2021 this work has almost been completed. This victory comes after over 25 years of campaigning from local community groups who raised concerns over the health and safety of the building. Over the years it has become and eyesore and a target for vandalism.

The Talisman was first opened in 1966 under Scottish & Newcastle Breweries. The company has a fascinating history, dating back to 18^th Century Edinburgh when the Younger family owned it. By the 19^th Century Younger’s shipped globally and by the 20^th Century it was making almost 25% of Scotland’s beers. The Talisman was run by manager W. McIntosh and his wife. In 1991 it was renamed The Baron. Despite being bought and sold on several occasions, the building has been left empty since 1994. 

The demolition of the Talisman raises important questions of building preservation and debates around when is something worth documenting, but not necessarily preserving?

Too many of Glasgow’s historic buildings are derelict. A 2018 report named Glasgow as the city with the highest number of empty buildings and spaces in Scotland, with 120 buildings placed on the Buildings At Risk Register. Within the past few years there have been several high profile campaigns to save buildings from dereliction, including the work being done to preserve the Alexander ‘Greek’ Thompson Egyptian Halls on Union Street.

In many cases these buildings are a part of a shared community history and more should be done to allow early intervention so that communities can reuse these spaces and buildings according to their needs. Councils should be doing more to allow historic buildings to be ‘recycled’ for different purposes. They are not only an important part of the community’s shared social memory but part of our cultural history, and should be saved to extend their legacy. In many cases the reuse of buildings is also a cheaper option in the long run.

It is important that communities have agency to decide when buildings are culturally significant, whether they are structurally reusable, and when, in some cases, demolition and replacement might be more appropriate. The collective memory of buildings such as The Talisman can be preserved in other ways, while communities themselves move forward. Derelict spaces can leave communities feeling left behind or forgotten, whilst giving a community agency over its own spaces and history can be empowering and uplifting.  For the people of Springburn, there was a long battle for the opportunity to decide on what they wanted to do with The Talisman bar, hopefully with its demolition, the community can now reclaim the space for its own needs.