Arthur B. Gibson for Messrs Gibson-Pybus, c.1885. Another late Victorian redevelopment for a public house and offices. Bell & Taylor, wine merchants, opened the Vine Public House in 1901 with 'a long bar rounded off by an exceedingly handsome buffet'. Behind the bar and with a separate street entrance was a circular smoking room and a sitting room. In 1918 Bass bought the pub. It closed in 1954. Built in variegated red brick and terracotta pottery decorations with some stone. Fairly plain, almost industrial in character, with two large gables to the street. These were origianlly taller with fancy cappings and finials but this whole decorative section has been removed from both gables. A unflattering 20th century ground floor treatment {1}. This was the Newcastle Headquarters of George Bell, brewers agent from Richmond, and Henry Taylor, wine merchant from Low Fell. The building contained offices, cellarage and bottling stores. The public bar, buffet, smoke room and select sitting room was named The Vine by Bell & Taylor. In 1918 Bass bought out Bell and Taylor. The pub survived until 1954 then became a camera shop and camping equipment shop. Pearson - In 1885 Arthur Gibson, local architect drew up plans for a rebuild in Queen Anne revival with a white brick elevation and red brick window surrounds and three ball finials on the gable. What was built was slightly simplified - no ball finials, no open top pediments on the gables and the elevation was in pale red brick, not white. The owners were a firm of solicitors. The upper façade of the pub remains almost unchanged but all the original interior has gone. By 1901 the pub changed hands to Bell & taylor, wine and spirit merchants. They called in Joseph Oswald & Son to redesign the front bars in Dec 1901 and the rear buffet in April 1908. The quality and quantity of decoration in the design of the five bars rivalled Benjamin Simpson's work. The buffet fronting onto Pudding Chare had even more carved pitchpine and decorated glass, a semi-circular bar and coffered ceiling. The back bar featured fluted ionic pilasters topped with a clock in which the numbers were replaced with the letters of the licensee's name (Bell & Taylor). In 1954 the front bar and buffet were taken out and a shop installed. In 2013 it is Adventure at Freemans with offices above.

Built as the Earl Grey Public House, this is another burgage plot which was redeveloped at the end of the nineteenth century. Owned by Simpson the brewer until 1889 when it was bought by L Pearson & Co. boot manufacturers who ran the shop next door. Rebuilding by William Hope for Lazenby Pearson Ltd, 1897. The modernisation added a corner snug into the front bar and a grill room at the rear. There were two select rooms upstairs, one for ladies, one for gentlemen. In 1892 Emmersons took over the tenancy. In 1900 the licence was allowed to lapse. An elaborate composition in carved stone with two storey bays with stone roofs, stubby columns, cherubs and swags. Most of the ground floor is modern and incongruous, as is the ugly lift housing on the roof. Originally the property was built with a tall central gable with two attic windows and more elaborate decoration. In 1919 Charles E Errington, architect removed this and replaced it with the existing balustrade with dormers behind to create more usable space in the roof. In 2013 the ground floor is Ali Basha Grill House with offices above.

John Johnstone for W R Pape, c.1882. This rebuilt burgage lane was designed by the same architect as the former Wengers buildings at the end of Royal Court Yard. Originally shops, restaurant and warehouse, it is now shops and offices only. Because of the depth of the front range, the architect went for minimum structure and maximum glazing, so the front has a very fine and elegant stone structure enclosing large windows. This delicate structure holds up three rather heavy decorative dormers. The Yard, is treated in a more classical manner with rows of heavier pilasters and deep set windows. The warehouse for Pape at the far end of the Yard was designed by William Finley a year later, but picking up Johnstone's design. The ancient (possibly Elizabethan) Unicorn and Golden Lion Public Houses were demolished for Johnstone's new buildings.

Early twentieth century. Not particularly a thing of beauty; more of a novelty. Large scale, vaguely Art Nouveau style, built around a single central vertical emphasis. At first and second floors the emphasis is a tall plain stone depression, on the top two floors it becomes a solid column up to the grand flourish at the top of the gable - a shell crowned statue niche standing on a birdbath, flanked by strange columns and supported by stone garlands that trail over the window heads below. Two Art Nouveau finials complete the top floor. The bay window on the floor below seems to have a stone roof and two central decorated medallions each with a stern-looking human face in the middle. The date and architect's name have yet to come to light.

Late eighteenth century or early nineteenth century. A neat, easily overlooked four storey brick house, which belongs to a much earlier era of High Bridge. It has a very plain upper floor, but with sliding sash windows and recessed blind window on the second floor. Unfortunately the first floor windows have been shortened. The top stone cornice has also been replaced with a modern plain gutter and fascia. The modern shop front is of a traditional pattern. Not an architectural gem but an interesting reminder of past times.

Oliver and Leeson for Joseph Cowen, 1896. The very handsome Edwardian Arts and Crafts Clarendon Temperance Hotel which became offices in 1923 (Cackett and Burns Dick, architects), before being converted into flats in 1986-7. It makes full decorative use of quality natural materials, playing off the rich red bricks with the green-grey Westmorland roof slates. The ground floor stonework is of very high quality and wonderfully carved below the corner turret and under the fancy first floor window in the middle of the Clayton Street West façade. This projecting window or oriel with its intricate stone decoration, slender brick window pillars and lead fishscale roof, is a perfect cameo of the quality of this building. The main entrance has a shell window and original tiled hallway. A Presbyterian Chapel (John Knox Chapel - designed by John Dobson) was demolished to build this temperance hotel and the congregation moved out to Elswick Road. The eldest son of Frank West Rich, Edmund, worked for this practice for a time. The ground floor is now Latif Indian Restaurant, with basement shops off Bewick Street, ground floor shops off Pink Lane and flats above. McCombie - big, brick-gabled with an arcaded ground floor and a central oriel.

Frank Verity and Samuel Beverley for Paramount, 1931. The Paramount as it then was opened for business on 7 September 1931. It was an American style super-cinema with a mighty Wurlitzer organ, orchestra and Tiller Girls. It was one of seven built by Paramount in the major English conurbations. Its essentially blank brick face to the street was relieved by huge pilasters, brick panels and decorative stone cornice, balconies and first floor windows. Over the years it has become grimy which gives it a dingy appearance. It became the Odeon in 1939 when it was bought by Oscar Deutch's Odeon chain. Two metal Paramount logos can still be seen above the cornice at the top of the building. The original stylish Paramount canopy has not survived. Cinema. 1930-1 as the Paramount Cinema, by Frank Verity and Samuel Beverley. The original interior, which partly survives, is attributed to the American designer Charles Fox, based on Paramount's cinemas in the United States by the Chicago architects George and Cornelius Rapp. Steel frame clad in brick, with stone elaboration to main facade. Cinema originally comprised a balcony and stalls, with proscenium and stage, now with main cinema in balcony area and with two smaller cinemas set below; extensive foyers and large main staircase hall. Art Deco style.
EXTERIOR
The tall Pilgrim Street facade is arranged as a symmetrical classical composition and rises the equivalent of six storeys. Above a stone-clad ground and mezzanine plinth rise three storeys, in buff-coloured brick, to a stone cornice and rendered attic. The walls at entrance level are covered by later accretions. A metal-clad canopy runs the full width of the facade and obscures much of the mezzanine, which is left blank apart from three vertical windows above the entrance. The main three-storey brick section has pilasters dividing it into five vertical bays. The end sections are treated as channelled rustication, running round to the left return wall. At the foot of each vertical panel there is a triple light window with broad stone surrounds. The dressings on the three central windows are enriched, having balconies (with balustrading renewed in concrete) supported on heavy consoles, swan-necked pediments and ear-corners. All windows with vertical glazing. Beneath the two flanking windows stone panels have lozenge motifs under the central lights. Over the three central windows, at third floor level, are three vertical windows arranged 1:3:1. These have simple inset brick borders. The fourth floor is left entirely blank except for the pilasters which have composite capitals incorporating lunettes and acanthus, and a dentil filling the tops of the five panels. Above is a stone entablature under an attic storey with five window apertures, each with stone surrounds incorporating shaped pediments. Roof obscured. Sides and rear walls of stock brick.
INTERIOR
The foyer is entered to the left and then runs across the front of the building. Beyond a lobby is a double-height inner foyer with the walls divided by fluted pilasters. In the far corner a quarter-turn stair with fine Art Deco balustrades, which break forward as shallow canted bays. From the ceiling hang three fine Art Deco light fitments of varying design, which are matched by wall-mounted lights. More fine Art Deco light fittings with Lalique-style frosted glass are in the balcony foyer. In the auditorium the balcony has been extended forward to the proscenium, thereby creating an upper cinema with smaller ones below in the area formerly occupied by the stalls. The side walls of the main auditorium are divided by pilasters into four bays, with extra subsidiary bays further back beyond the point where the ceiling rises. Each bay niche has a steeply pitched pediment. The convex fluted pilasters are surmounted by glazed Art Deco capitals which also serve as lighting sconces. Flat ceiling with inclined sections at the sides. In the centre is a plaster Art Deco style lozenge feature. Fine Art Deco seat standards. Remains of the original proscenium survive behind one dating from 1975. The bases of the pilasters survive in the smaller auditoria on the ground floor. A further cinema has been built on the former stage. The basement at the front of the building originally contained a restaurant. The original fluted columns and dentil cornices may survive behind later cladding.
ANALYSIS
Included as an example of the huge and luxurious `movie palace' cinemas built by Paramount in key provincial British cities in the 1930s, designed by one of the leading architectural practices, who by this period had become specialists in cinema design. This is the only Paramount in England, and the only example of a mature Verity and Beverley cinema, to retain its original character inside and out. The transatlantic origins of this interior provide added interest. Although altered, the facade and principal interiors retain their original grandeur and quality of design, with many fittings of exceptional quality.
LITERATURE
Dennis Sharp, The Picture Palace, Hugh Evelyn, London, 1969, p. 140
David Atwell, Cathedrals of the Movies, Architectural Press, London, 1980, p.57
Frank Manders, Cinemas of Newcastle, City of Newcastle upon Tyne Libraries and Arts, 1991, pp.17-18, 20, 41-2, 73, 76, 108-118, 127-8, 140, 142, 156, 177
Richard Gray, Cinemas in Britain, Lund Humphries, London, 1996, pp.107-8, 118 McCombie - the last complete Paramount in Britain. A striking building and one of only two big pre-war cinemas surviving in the city centre (the other is the Gaumont on Westgate Road, now the Academy). Cream brick with ashlar ground floor, cornice and details. Art deco interior by Charles Fox.
Noted as having a negative impact on the streetscape of East Pilgrim Street in a 2006 assessment.

The construction of this civic services complex designed by one of the best local architectural practices of the time (Cackett, Burns Dick and Mackellan) was stimulated by the opening of the new Tyne Bridge in 1928. It was symmetrically designed about the corner entrance, and clad in Portland stone with brick for staff flats on Worswick Street. It has some features of epic proportions; the larger than life main doorway; the massive single window with columns above the door; the extra long runs of giant columns along Market Street and Pilgrim Street; and the stylised mythical beasts flanking these giant colonnades. The Police Station is the third on this site since 1840. Although the building is described by McCombie and the listing description as steel-framed, archaeological building recording carried out in 2023 noted that it is in fact constructed from reinforced concrete (HER event 5448 report 2023/28).
Images and building plans are presented in an appraisal of the building carried out in 2006 by Heritage Architecture Ltd.
The complex was listed Grade II in 1999 with the following description:
'Magistrates Court, Police Station, and Fire Station. 1931-33. Designed by Cackett, Burns Dick & Mackellar. Steel framed with rusticated Portland stone and brick cladding. Baroque Revival style. 4 and 5 stories, with basement and attic. Market Street front to north has 13 window facade with central entrance to Magistrates Court which has double glazed doors with overlight with fish-scale glazing in flat moulded granite surround topped with coat-of-arms. Either side single small windows with bronze bars and beyond on either side 5 sashes with glazing bars. Above 13 similar windows. Above again central blind section with 10 giant Corinthian columns supporting deep entablature and topped with plain parapet. Chamfered corner section to police station has similar double doors in flat granite surround with set back sections to either side containing single glazing bar windows. Above small glazing bar sash and then an ornate projecting balcony and a very tall window with single deeply set giant Corinthian columns either side. Entablature above bears date: AD. MCMXXXI AD. Parapet above has fluted Ionic pilasters and a flagpole. Pilgrim Street facade very similar to Market Street front though with 7 fire engine garages with late C20 doors all in flat granite surround, and above 12 recessed Corinthian columns with windows between on both upper floors. Worswick Street facade is irregular with stone faced basement and ground floor, the upper floors are white brick with stone banding. Inner courtyard has 3 storey central building with 7 storey hose drying tower and cells to the magistrates court. INTERIOR has 2 almost identical magistrates court with Classical style oak panelling, raised seating for the magistrates, dock, witness box, lawyer's seating and public gallery. Coffered plaster ceiling with original brass light fittings and panelled doors. Magistrates anti-chamber with similar style plaster panelling, pilasters and oak panel doors. Courts entrance foyer lined with imitation stone, plaster ceiling and original light fittings and doors. Police Chief Constables former office and outer office retains similar style panelling doors and plaster ceilings. Police station entrance retains original glazed wooden double doors with pilaster surrounds, internal foyer has pairs of Egyptian style columns supporting curved frieze.'

The building was previously the Victoria Music Hall before becoming a billiard salon. In 1914 it was converted by White and Stephenson into an early cinema. The remodelled frontage, which remains except for the ground floor, proclaimed the NEWCASTLE PICTURE HOUSE in large letters in the centre panel on the second floor. In 1922 it became the Grey Street Picture House, but closed 18 years later. The front façade, even with its heavy stonework, decorative round windows and heraldic centre-piece seems rather modest for a cinema of the period, but it was aimed specifically at attracting the middle classes with its electric lift, spacious foyer, tea lounges, smoke room, period cafes and parcel service for patrons, as well as cinema auditorium.

Sandstone quay wall running along the northern bank of the River Wear, in three sections. The two westernmost sections are now separated from the eastern block by a footbridge and slipway. Between the two western sections is a gap with chamfered edges to the walls. Assumed to be part of Washington Staiths as shown on Rennie's map of 1822 and Ordnance Survey first edition. The wagonways connecting these staiths were out of use by 1850.