Sosman & Landis, Shaping the Landscape of American Theatre: Enter, Thomas G. Moses in 1880

Copyright © 2023 by Wendy Waszut-Barrett

Some information about Sosman & Landis in 1880 comes from the personal memoirs of Thomas G. Moses (1856-1934). He was the first scenic artist hired by Joseph S. Sosman during the spring of that year.

Thomas G. Moses portrait in the Inter Ocean, 28 Feb. 1886.

When Moses met Sosman, he was 24 years old and had been working as a scenic and decorative painter for seven years. He had worked throughout the region after training at P. M. Almini’s and McVicker’s Theatre as Louis Malmsha’s assistant (1873-1874). Of his mentor, Moses remembered, “He was a very clever man. In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work.  Very simple in drawing and color, but very effective.” In many ways, working for Malmsha “set the stage” for Moses’ career. He learned both an economy of brushwork and speed. This skill set was an incredible asset to any employer, especially since studio profits increase as paint labor decreases.

Although Moses had started his painting career in Chicago, love brought him back to his hometown of Sterling, Illinois, in 1878. He married his childhood sweetheart and soon celebrated the birth of their first child. Between 1878 and 1879, Moses primarily worked in his hometown as a scenic artist, fresco artist, and decorative painter. In the beginning, work was plentiful. His name made frequent headlines. Their first home is is still standing! I had the pleasure of photographing the building on July 20, 2019, when I passed through town.

Thomas G. Moses’ home in Sterling, Illinois. Photograph by Wendy Waszut-Barrett, July 20, 2019.

Original photographs are part of the Illinois Digital archives.

n.a., Homes, Sterling, Illinois, Thomas G. Moses Residence, 508 East 7th Street, Sterling and Rock Falls Local History Collection (Illinois Digital Archives), 2023-12-05, http://www.idaillinois.org/digital/collection/stpl/id/1999.

 n.a., Homes, Sterling, Illinois, Thomas G. Moses & Susan Ella Robbins Moses Residence, 508 East 7th Street, Sterling and Rock Falls Local History Collection (Illinois Digital Archives), 2023-12-05, http://www.idaillinois.org/digital/collection/stpl/id/1783.

On Nov. 30, 1878 the Sterling Gazette reported, “Ten full sets of scenery including parlor, chamber and kitchen scenes; a river, sea, street, woods, prison, landscape and garden scenes comprise list of scenery. Those were painted by our townsman, T. G. Moses, and we need not tell those familiar with his work that they are finely done. The work alone will give him a reputation as a scenic artist, everywhere that it is known” (page 8). His decorative painting for Sterling’s Commercial College was also praised in the Sterling Gazette that same day. The second article reported, “The first floor is divided into three parts, making three of the most elegant store-rooms in the city – two of them are fifty feet front, the third forty-three. They are beautifully paneled and frescoed by T G Moses.” The stream of initial projects soon slowed to a trickle. Moses began to look for work in neighboring towns. The distance that Moses had to travel for work continued to increase as the months passed.

Although he tried to remain in his hometown, there was not enough work to pay the bills. In his memoirs, Moses remembered, “The winter was coming on and the outlook was anything but bright.  I was earning on an average about $75.00 per month.”  He knew that he needed a stead paycheck from an employer, even if it was less than he could make on his own.

Moses did not relocate to Chicago until that spring. His last project in Sterling was completed in early February. On Feb. 7, 1880, the Sterling Gazette reported, “We called at the office of Pollock Bros. one day this week and was shown their rooms.  They have added another operating room on the same floor, which has been recently painted and frescoed. Much credit is due to Thos. Moses, for the excellent taste displayed. The oil paintings on the ceiling are elegant showing skill rarely met with” (page 8).

His final project in the area was a Presbyterian Church in Dixon, about 12 miles away from Sterling. The job did not go well. Moses wrote, “The last job from Sterling I did was the Presbyterian Church in Dixon, and I did them a good job, but the chairman of the decorating committee was not a man of honest dealings, and I quit the whole Western part of the state in a ‘huff’ and went to Chicago, alone, to see if I could find anything.”

Moses started at the doorstep of a former employer, the decorating firm of P. M. AImini.  Of the interaction, Moses wrote, “I had been away so long that my case didn’t interest them.”  He then headed to the new scenic firm of Sosman & Landis.  The decorative firm of P. M. Almini was located at 231 Wabash av., near Jackson. This means that the studio Sosman & Landis was only six blocks away. Moses wrote, “I had heard of Sosman and Landis and they knew of me.  I called on them, met Mr. Sosman, and settled to go to work for them for $18.00 per week, rather small pay, but I could only get about $24.00 at Almini, and that was not steady.  I had no alternative, so I settled to go to work at once.”

I need to provide some context for the weekly salary of $18 offered by Sosman in 1880.  Six years earlier, Moses had earned $21 a week at Almini’s. He was 18 yrs. old at the time. His salary increase had been rapid at the decorating firm going from $4 a week had increased to $21 a week over the course of a year. This likely validated Moses’ belief that hard work and determination would be rewarded by an employer.  

In the beginning, Moses boarded with his friend Will T. Fuller at 428 W. Van Buren. At the time, Fuller was working as a salesman at 103 State. Both lived above the jewelry store of Oresta W. Young and his family at 428 Van Buren. Oresta Woodworth Young (1847-1923) was a jeweler and watchmaker, living with his family. The 1880 Census report listed that the Young household included: O. W. (32), Jennie (wife, 27), Frank (son, 4), June (daughter, 1 mth.), Ida Berkley (sister-in-law, music teacher, 17), Mary Mastisen (servant, 19) and William Fuller (boarder, 21). Young was also listed at a second residence at 744 W. Vanburen.

Ella and baby Pitt remained in Sterling until the end of May when Moses relocated his family to Chicago, settling his family down the street from his previous boarding house.  Their new home was 744 Van Buren, on the corner of Robey. The house next door was also occupied by Oresta Young. Interestingly, I located the rental listing for Moses’ hous. On April 18, 1880, the Chicago Tribune listed the following in the section “TO RENT – HOUSES. West Side-Continued”-

744 Van Buren-2-story brick, $30. Edward A. Trask, 181 West Madison-st” (page 14).

Advertisement that was published in the Chicago Tribune just before Thomas G. Moses rented the home.

I was surprised to discover the reason why the house was changing tenants. The previous owner, Frank Van Osdel, had been severely injured in a freak accident during Dec. 1879. Osdel and Frank Piercy, employees at Crane Bros., were boxing in an elevator shaft when the scaffolding failed, with each falling to the bottom. Piercy was killed instantaneously and Van Osdel was severely injured (Chicago Tribune 20 Dec. 1879, p.1). It was Van Osdel who resided at 744 West Van Buren.

Moses’ father (Lucius M. Moses), stepmother, sister, and two young step-brothers also moved to Chicago that year. They were listed at 331 Randolph Street in both the 1880 Lakeside Directory and the Census report. Lucius sold his tannery business in Sterling, but continued to work as a harness maker.

After starting with Sosman & Landis, Moses was immediately sent on the road to Kenosha, Wisconsin, to paint stock scenery for Kimball’s Opera House. He recorded that this project began on April 19, 1880.

Kenosha was a sizable town of 7,000 citizens, located approximately 35 miles from Milwaukee and 10 miles from Racine. On April 29, 1880, The Telegraph-Courtier of Kenosha, Wisconsin, reported, “Mr. Kimball is having six scene and a new drop curtain for his hall painted by two of the best scenic artists in Chicago, Messrs. Sosman & Landis.”  It is understandable that Moses was mistaken for Landis, as he was working with Sosman on site. Over the years, this case of mistaken identity would repeat itself, fueling the myth that Landis was also an accomplished scenic artist.

Moses started the project alone, writing, “Sosman joined me in Kenosha after I had gotten started and painted the plain interior and kitchen and some set pieces.  We were soon through and back in Chicago.” However, it wasn’t long until Moses was on the road again.

Projects that summer included an advertising curtain in Steven’s Point, Wisconsin. On June 12, 1880, Stevens Point Daily Journal reported, “H. D. McCulloch has decided to change his drop curtain in the hall to one of the elegant affairs gotten up by Messrs. Sosman & Landis, Chicgao, being a beautiful landscape with advertisement of the prominent business houses of the city” (p. 5).

Image of the opera house on H. D. McCulloch Block, later known as the Silvermint Arcade. Here is the link to the image: https://www.wisconsinhistory.org/Records/Property/HI72865

Advertising curtains were typically paid for by businesses and gifted to theaters.  The spaces were either purchased outright or rented. This was a way to collect cash for a product before it was installed. These type of projects were a quick way to access cash, as a group was financing the project.

In Winona, Minnesota, the firm was credited with painting a new advertisement curtain for the Philharmonic Hall stage in July 1880. On August 2, 1880, the Winona Daily Republican reported,

“The new drop curtain which was mentioned some time since in THE REPUBLICAN has been completed and placed in Philharmonic Hall. It is the work of Messrs. Sosman & Landis, scenic artists of Chicago, and is a finely executed piece of work. The scene is a view of a city, the foreground consisting of a river with a large, fine bridge spanning it, upon which teams and carriages are crossing. Several boats are plying in various directions, as team tug towing a couple of barges being the central objects. Back from the rive fine blocks of buildings rise in a succession, the spires of churches and domes of public building adding a fine variety to the scene. In the distance a low range of hills are visible, while in various portions of the city fountains and columns are tastefully interspersed. As to the merit of the work the perspective is excellent, the colors good, and the production is certainly not the achievement of a novice. At the border of the curtain is a row of advertisements which are well arranged and indicate that the idea was well received by our prominent merchants. The curtain is not intended to take the place of the old one, but is simply another curtain if the same size hung back of the first one to be used between scenes and acts only” (p. 3).

That fall, the firm was also credited with stock scenery for the new Turner Hall in Menasha, Wisconsin. The theater opened on Oct. 14, with the New Orleans Minstrels as the first entertainment (The Saturday Evening Post, 14 Oct, 1880, p. 2). The firm’s new scenery was a grand success. On Oct. 28, 1880, The Saturday Evening Press reported, “The scenery, all that was exhibited was very fine, and in this connection, the Society wish to return thanks to the firm of Sosman & Landis, of a Chicago Scenic Studio, who painted the scenery, for the excellence of the work, and fairness of the prices, and the Society is ready at any time to recommend them as a first class firm in every respect” (p. 3).

Advertisement for the Philharmonic Hall on July 2, 1880, in the Winona Daily Republican.

This marks the standard operating procedure for the firm; one that would continue even after the passing of both partners. Sosman & Landis did not require payment for the scenery prior to installation. A portion was due upon installation, with the remainder in the form of a few scheduled payments.  An announcement published in The Saturday Evening Press on Dec. 2, 1880, stated, “A grand leap year party is to come off at the Turner hall, Dec. 27th. The proceeds are to be applied to paying for our new scenery” (p. 3).

In the beginning, Moses and Sosman worked as a team, one step behind Landis as he contracted projects. Of this time, Moses wrote, “Sosman and I had to travel a good deal as Mr. Landis was on the road all the time securing orders for advertising curtains, and I didn’t see him until I had been there nearly six months.  As the business increased, we put on a paint boy.”

This meant that Moses started out as a combination of scenic artist, assistant, and paint boy. Sosman & Landis were certainly getting their money’s worth in the beginning. However, as their workload increased, other scenic artists took notice.

Moses wrote, “Then the artists began to drop around.  They all wanted $35.00 or $45.00 per week and told me I could get that much in the theatres. I began to think I was worth more as I had proven that I was a hustler.  My work might not have been as artistic as some I saw in the theatres, but it pleased the people who paid for it.”

The seeds of discontent were sown. Moses knew that he should be making a much larger salary; one that was at least twice his current rate. Reflecting on 1880 in his memoirs, Moses wrote, “My career as a scenic artist starts from here.  I was full of ambition and hustle.  If I had been endowed with a like amount of ability, I would have set the world on fire.  It was all hard work.” I find it interesting that although Moses had painted dozens of sets for the theater by this time in his career, starting with Sosman & Landis signaled something special. He remembers it as his beginning; a beginning that coincided with the first full year of the firm.

By the spring of 1881, Moses’ salary was increased by $2 a week, but it wasn’t enough. Moses began picking up extra work at the Academy of Music, working for Lemuel L. Graham. Sosman & Landis must have recognized that Moses was planning to leave, as he was offered $26.00 a week that fall with the idea that he would not take outside projects. Moses’ raise coincided with the birth of their second child.

The scenic art scene was rapidly changing in Chicago. New drop curtains by well-established artists that year included:

Matt Morgan, Academy of Music (Chicago Tribune, 21 Dec. 1880, p. 3)

Lou Malmsha and J. H. Rogers, McVicker’s Theatre (Chicago Tribune, 1 August 1880, p. 2)

Charles G. Petford, Hooley’s Theatre (Chicago Tribune, 8 Aug. 1880, p. 12)

George Dayton, Hamlin’s Grand Opera-House (Chicago Tribune 15 Aug. 1880, p. 12)

Not all were living in town, or being listed in the city directories. For many, Chicago was simply another stop in the region. They came, made headlines, and headed to the next project. Henry C. Tryon, another future employee at Sosman & Landis, also worked in a variety of cities at this time.

In 1880, however, he was in Chicago long enough to write a letter to the Chicago Tribune Editor. At the time, Tryon was associated with McVicker’s Theatre in Chicago, working as an assistant to both Malmsha and Rogers.

Here is Tryon’s article in its entirety, published on Dec. 19, 1880:

“SCENE PAINTING.

Some hints to the Public Regarding a Special Department of the Painters’ Art Not Well Understood.

To the Editor of The Chicago Tribune-

Chicago, Dec. 18.-

Theatrical scenery is painted in “distemper,” dry color being mixed with a vehicle consisting of glue and water, much the same as is used with whiting for calcimining rooms. Stage scenery and drop-curtains are never painted in oil colors. While the color is less brilliant than when mixed with oils (the artist being compelled to get his brilliancy by skillful arrangement of dull color), the glare of varnish and oil is avoided which would destroy the realism of the scene. Scenery, then, being painted in watercolors, the danger from fire is much less than popularly supposed; in fact, when it does take fire, it burns very slowly for a long time. The canvas is much less combustible than before being painted. Scenes painted on both sides are almost fireproof.

The qualities required of a first-class scenic-artist are of a much higher order than is generally supposed, and the technical difficulties to be overcome to produce any brilliant effect whatever for the stage are so numerous that, with a thorough knowledge of drawing, color, and composition, and the clearest possible idea on the part of the artist of what he desires to do, he will fail utterly, without great practice, to convey to the audience the effect that he may have already, in his brain, arranged in the clearest and most tangible shape. The artist in oil colors can produce any effect which his mind conceives. The scenic-artist must first overcome many very difficult obstacles. One of the chief difficulties arises from the fact that the colors dry out several shades lighter that they are when applied. (Throw a little water on the floor and the difference in color will illustrate this difficulty). The artist is compelled to paint with one color while thinking of another. He must think with every brush mark how the colors will “dry put.” The difficulty in doing this can be imagined when it is considered that all exterior scenes are painted from a pallet making a constant change of thousands of different tints. Then the effect of a night light is a serious drawback. Whoever has observed the changes in the colors of fabrics from the light of day to the artificial light of gas must have noticed how some colors are heightened and others dimmed by being brought under the yellow gaslight.

The scene-painter working in the broad glare of day must consider with every brush mark the effect of this gaslight on his color. A brilliant effect by daylight may, under an artificial light, be entirely destroyed, and also the reverse holds true; but must not be accident with the scenic-artist.

Do the audience in the theatre ever realize the immense difficulty of painting a scene while within three or at most four feet from the canvas, to produce the proper effect at a distance of fifty to 150 feet, the artist being compelled to see his work in his mind’s eye this distance, when his first opportunity to see his entire work is after it has been finished and on stage? The result of constant practice in this direction is, that, as he acquires knowledge, and consequently power and decision, he gradually choses larger brushes, until the skillful artist is enabled with the roughest and apparently most hideous “swashes” of the calcimining brush to produce effect as soft, tender, and full of appropriate  meaning as is done by the most labored, painstaking care on smaller surfaces by many landscape painters. In scene-painting, as in all other art, it is only the novice who takes the life out of his work by petty, contemptible smoothing down with small brushes. “Pictures are made to be seen, not smelled,” said Reynolds. In decorative painting mechanical finish is the important requisite, but in scene-painting it is no more an excellence than is mechanical finish in any other art.

The popular impression is that because scenes are thus painted with broad, bold, rough marks it is scarcely more than a grade or so advanced beyond mere decorative painting; but think for a moment of the knowledge of drawing, perspective, composition, and color required to enable the artist to produce on these large surfaces a scene which to the audience must be realism, when he can only see at any time a limited portion (say ten feet square) of his work – on a “drop” say thirty feet by fifty – while working within three feet of his canvas, and to be seen across a large theatre. The fact is, that a scenic artist is able to paint a small picture with much greater ease and readiness that he can with his theatrical work, because he has the knowledge to paint the small subject without very great obstacles attending his work on the large canvas.

Another thing to be considered in this connection: The scenic-artist does not always – in fact, seldom- have the leisure to do work at his best. He has neither the time nor opportunity to correct his work. When a picture is finished in an artist’s studio the artist sees where a change here and there will enhance the value of his work and can perfect it. The scene-painter must call his work “a go” and start on the next scene. “We press your hat while you wait,” is the sentiment. The manager comes to the artist, and says we want a street – Paris, 1600 – to-night. He must have it then, though the heavens fall. “Time, tide, and managers wait for no man.” Many times in the experiences of all scenic-painters are they obliged to work thirty-six hours at a stretch, their meals brought to them, and stopping for nothing else, each of those hours working against time, with no sentiment other than to get through, get out of the theatre and to the rest that exhausted nature loudly demands. Still, he must be criticized on this very work. The audience doesn’t know anything about his having worked all day, and all night, and all day.

The great scenic-artists of the world are great artists, and so recognized in the world of art. Poor dead Minard Lewis was the very Prince of scenic artists, and his genius was the wonder and admiration of every artist of every department of art in New York. Yet the theatre-going public who for thirty or forty years had admired and applauded his beautiful work did not know or care to know his name.

The position of scenic-artist in a first-class theatre is one of great responsibility, which is properly recognized “behind the curtain line,” but the general public has no interest in the personality of the scenic artist, supposing in a vague sort of way that the manager paints the scenes. It is no unusual thing for scenery to be lavishly commended by the press and public, the manager receiving the press and praise for his “enterprise, taste and liberality,” while the artist whose brain and hand has created it all is never mentioned or even thought of. Scene-painters, like all other artists, have their ambitions, and are grateful for proper and honest appreciation. Much injustice has been done to them (perhaps through thoughtlessness) by the public press and this is strongly felt by every scenic-artist. If the newspaper dramatic critics would take the same interest in the scene-painters themselves that they do with other individual members of the theatrical business and that they do with other artists, and would find out under what adverse circumstances they generally labor, their sense of justice would cause them to be more discrimination in their reports. If a theatre during an extended period is uniformly negligent in the matter of scenic accessories, it would be but simple justice for the public critics to inquire whether it is due to the incompetency of the scenic-artist or to the economy of the manager. The truth in this matter can always be easily discovered, and when blame is laid, as it frequently is, it should not be done in loose and indiscriminate manner which injures most the artist who is frequently not to blame. If the dramatic critics would visit and become acquainted with the scenic-artists they would be welcomed, and would perhaps gain in the interest of dramatic art and progress some ideas from that unknown and unthought of portion of the theatre 9the paint gallery) that would be a revelation to them. The sooner the press and public recognize the scene-painters as artists and deal with them individually as with other artists – commending or condemn them on their own merits, – the better it will be for the elevation of scenic art.

            -Henry C. Tryon”

This likely caught the eye of Sosman. By 1882, Tryon began working for the firm. This was immediately after he delivered scenery to the Salt Lake Theatre in 1882.

To be continued…

Sosman & Landis, Shaping the Landscape of American Theatre: The First Sosman & Landis Studio, 277 and 279 South Clark Street, Chicago.

Copyright © 2023 by Wendy Waszut-Barrett

In 1891, Perry Landis explained to a reporter why he and Joseph Sosman selected Chicago for their first studio:

“…we were totally unknown, and New York presented a good deal of formidable competition. It’s the name you want in our business, and, at that time, we hadn’t got it.”

For years, I have tracked down artists who specialized in theatre scenery, those specifically listed in US City Directories.  It has been a daunting task, but my research has helped me track the movements and demographics of scenic artists between 1850 and 1900. I have been able to explore shifts in occupational title as artists journeyed from one region to the next. Their job titles included scenic artists, scenery artists, scene artists, scenery painters, scene painters, and scenic painters. Some even omitted their occupation entirely in City Directories, or just went by artist or painter.

While entering scores of names, addresses, and dates, I noticed that many metropolitan areas east of Chicago were saturated with established artists. I completely understand why Sosman & Landis didn’t set up shop in New York, Boston, Philadelphia, Baltimore, Cincinnati, Columbus, Indianapolis, New Orleans, or San Francisco. These cities already hosted generations of scene painters.

Although there was an abundance of work, it would have been a struggle to compete with more well-known and established artists. In short, there were too many artists in the eastern cities with long-standing reputations at specific entertainment venues and touring groups. Unless you were apprenticed to one of these master painters, it could have been difficult to get the most lucrative jobs with steady employment.  Although the demand for painted scenery was greater than the supply of artists, location mattered. Connections were key in established markets. 

In 1879, Chicago was still in the process of rebuilding itself after the Great Fire of 1871. This meant new construction, new buildings, and new transit lines. It also meant new theaters and new management. Any scenic art hierarchy that existed before the fire was long gone. In fact, many scenic artists had left Chicago in search of other work elsewhere across the country, settling into new venues and establishing new partnerships. This meant that those venturing west had little competition for a few years. In fact, Sosman & Landis was the only firm listed in the scenic artist section of the 1880 Chicago Directory. They had arrived in town the year before, quickly setting up shop on the south-side of Chicago.

In 1879, Sosman & Landis leased their first studio at 277 and 279 South Clark Street. Their space was in a multi-purpose building, located at the northeast corner of Van Buren and S. Clark.  See the location below – marked with a red star.

Sosman & Landis’ first studio at the corner of Van Buren and Clark streets in Chicago. Here is a link to the full 1880 Mitchell map: https://upload.wikimedia.org/wikipedia/commons/3/3f/1880_Mitchell_map_of_Chicago.jpg

The Studio Building

Rental advertisements published in the Chicago Tribune provide some insight into the rental spaces at 277 and 279 South Clark street. There were several retail spaces, dozens of residential units, and a large hall.

For example, on April 12, 1873, the Chicago Tribune listed:

“TO RENT – STORE 20×50 IN BRICK BUILDING, on the south side; first-class location for a good drug store. Also two others, same size, suitable for dry goods or boot and shoe. Call or address Room 6, 279 Clark-st., corner Van Buren” (page 7)

 On Oct. 31, 1875, the Chicago Tribune published:

“TO RENT – CHEAP – OFFICES AND SLEEEPING rooms in the building known as 277 and 279 South Clark-st. A large hall suitable for lodge or society purposes, in building 277 and 279 South Clark-st. Also basement 279 South Clark -st…Inquire of GEO. G. NEWBURY, Rooms 8 and 9 Bryan Block, or the OWNER, 279 South Clark-st” (page 15). For additional context, George Gardner Newbury (1842-1912) was a real estate agent and loan broker. At the time of his passing, his obituary remembered him as “one of the oldest real estate men in Chicago” (Chicago Tribune 3, Jan. 1912, p. 11).

Another rent ad published in the Chicago Tribune on April 8, 1877, announced:

“TO RENT – SECOND AND THIRD FLOORS of 277 and 279 South Clark-st. containing 26 rooms with all conveniences. Inquire of GEORGE G. NEWBURY, Rooms 8 and 9 Bryan Block” (page 13).

The Sosman & Landis Studio was strategically situated between two public transit lines and a railway depot. Known as the Rock Island Depot, the station housed the Chicago, Rock Island and Pacific R.R., as well as the Lake Shore and Michigan Southern Lines. Close proximity to a railway hub was important for theatrical manufacturers to succeed, especially if they planned to import skilled labor and export product.

1886 Robinson Fire Map showing the location of the train depot, located one block west of Sosman and Landis on Van Buren.

Although a few studios advertised “scenery to let” at this time, Sosman & Landis advertised mail-order scenery. In fact, they may have been the first US scenic studio to offer this service. Sosman & Landis placed an advertisement in the Chicago Tribune on May 17, 1879:

“SCENERY FOR HALLS – AN ELEGANT Landscape drop-curtain, only $30; parlor scene, $18; wood scene, $18; street scene, $18, kitchen scene, $15; prison scene, $15, all new and first-class suitable for small halls or amateur societies. Can be shipped to any part of the country. SOSMAN & LANDIS, 277 and 279 South Clark-st., Chicago” (page 3).

1879 Sosman & Landis advertisement.

I really wonder if Sosman & Landis rented the great hall in the building at 277 and 279 South Clark Street. It certainly made sense as they needed room for construction, sewing, painting, and storage. Also, if there had been an existing stock scenery collection in the hall, it that could have been removed, refurbished, and immediately sold.

The Neighborhood

In addition to exploring the various rental spaces at 277 and 279 South Clark Street, I identified 47 individuals living in the building during 1880.  Occupations listed for the residents included carpenter, blacksmith, tinsmith, printer, clerk, bookkeeper, tailor, shoemaker, broker, and speculator.

This heavily-trafficked neighborhood was home to a variety of individuals from varying ethnic and economic backgrounds. The area was diverse, albeit somewhat rough. In fact, a portion of the neighborhood was even labeled “whisky row.” Newspaper articles and public records described robberies, fist fights, shootings, suicides, and homicides. Perusing newspaper accounts between 1879-1880 indicated an interesting mix of people, organizations, and activities.

There was also an incredible amount of good that was done in the area – missionary work, charity, and black activism – all at the intersection of Clark and Van Buren Streets. A few particular groups caught me eye as I read through hundreds of articles from 1879-1880.

This intersection was considered one of the “great thoroughfares” for the Yoke Fellows. They frequented the crossroads of Clark and Van Buren. This group was described at the 1879 YMCA convention. A. T. Henningway stated, “The Yoke Fellows seek to reach young men of each class by Christian young men of that class in their own band.” At the same convention, President D. L. Moody said, “I was among the “yoke fellows” in Chicago a few years ago, and spent with them some of the pleasantest hours of my life. They would pray together and then start out, every man to his post, upon the four corners of the great thoroughfares, before all the hotels, and in public places generally. And a man could not get within one mole of their head-quarters without receiving an invitation” (Proceedings of the 23rd Annual Convention, 1879, p. 50).

The Pacific Garden Mission was also situated at the corner of Van Buren & Clark. It was a homeless shelter founded in 1877 by Colonel George Clarke and Sarah Dunn Clarke, taking its name from the former tenant, a saloon known as Pacific Beer Garden. Instead of changing the sign, Clarke painted out the word “beer” and added “Mission.” Pretty clever and thrifty. 1880 advertisements for services at the Pacific Garden Mission announced, “all were welcome” (Chicago Tribune, 4 March 1880, page 8). The Mission still exists and is considered “the nation’s oldest rescue mission working to change lives through God’s transformative love.” Here is their website: https://www.pgm.org/who-we-are/our-history/#:~:text=The%20Mission%20began%20in%201877,speaking%20eloquently%20of%20God’s%20love.

In addition to religious outreach, there was also a significant amount of black activism. Pacific Hall, was host to a variety of groups, including Company A of the “Sixteenth Battalion, I. N. G. (colored).” This group started out as the “Hannibal Zouaves,” organized by Capt. Robert E. Moore as an independent black militia company, but was later designated as Company A, 16th Battalion Illinois National Guard. On March 30, 1879 the Chicago Tribune announced:

“Ward Meetings Monday. First Ward – The Hannibal Zouaves, Company ‘A’ will celebrate the anniversary of the adoption of the Fifteenth Amendment at Pacific Hall, corner Van Buren and Clark-sts. Speakers are Gen. O. L. Mann, E. R. Bliss, M. F. Tarble” (p. 8).

In fact, their first annual entertainment at Pacific Hall included “Forty-five handsomely uniformed and well equipped colored men were in the ranks and they marched well and went through the manual of arms fairly. It is said that the company can muster seventy men in all, but there are not enough uniforms for the whole number” (Chicago Tribune, 1 April 1879, p. 8).  Their events were often advertised as “a grand military bal masque” (Chicago Tribune 18 Jan 1880, p. 12).

In 1880, the Pacific Hall also hosted a meeting discussing “colored people desirous of holding a convention to elect delegates to a State Convention” (Chicago Daily Telegraph 30 June 1880 p. 1). The Chicago Tribune announced this “mass meeting of colored men” at the Pacific Hall reporting, “Judge William Bord of Cairo, reviewed the political situation from the standpoint of colored interests, and urged that there should be no division, but that the colored people should work as one that they might be a factor in State, city, and National politics. The elevation of the negro should be their aim, and to that end all their thoughts and actions should be directed” (12 Oct 1880, p.8).

Pacific Hall was also rented by the Monaco Club, a group described in the Chicago Tribune as “a colored organization” (27 Oct, 1880, page 8). Two of the other groups that used the hall included the Sabbath School Union and the Love and Charity Society.

The First Studio Staff

The same year that Sosman & Landis leased studio space on Clark, Perry’s younger brother, Frank Landis, was brought on as a salesman. He traveled throughout the region, securing scenery orders for the firm.

On August 16, 1879, the Atchison Daily Patriot announced, “Frank Landis, representing the firm of Sosman & Landis, is in Atchison” (page 4). As the firm’s project load increased, there was a need for additional staff. In the beginning, Sosman painted all of the scenery, with the hwlp of Landis when necessary. For larger projects, they used a few local hires. This is also how Sosman entered the scenic art profession; he assisted Tom Harrison painting scenery at Chandler’s Opera House in 1873. At that time, Sosman was a local hire. In Macomb, Illinois, Sosman primarily worked as a decorative artist and sign painter.

Thomas G. Moses (1856-1934)

Thomas G. Moses was hired by Sosman in 1880. Moses walked into the studio on Clark Street. He was in the right place at the right time. Landis was on the road and Sosman needed help. In his memoirs Moses wrote: “I had heard of Sosman and Landis, and they knew of me.  I called on them, met Mr. Sosman, and settled to go to work for them for $18.00 per week.”Moses was only living a few blocks away from the studio, at 428 Van Buren.

A view from the intersection of Clark and Van Buren Streets.

Of his home on Van Buren, Moses wrote, “We had four rooms, second floor, in a brick building, $11.00 per month…We set our table on $3.00 per week and lived well.”

Sosman and Landis leased their own private residence on the west side, at 177 S. Peoria. However, the public transit line ran along Van Buren street, so their studio was only a short ride away.

Between In 1881, Landis married Nora Fessler and rented an apartment just a few doors down on the same street. Sosman remained at 177 South Peoria, with Landis and his wife living at 173 South Peoria. Want ads describe the house at 173 South Peoria as having ten rooms (Chicago Tribune 1 May 1872, p. 7).

Sosman & Landis did not remain on Peoria street for long. In 1882, the boarding and lodging section of the Chicago Tribune listed “177 South Peoria-St. – a south and east front room, well furnished with first-class board for gentleman and wife or two gents” (26 Feb 1882, p. 12). Both Sosman and Landis moved a block west, securing a residence at 155 S. Sangamon.

To be continued…

Travels of a Scenic Artist and Scholar. The Forum in Bronzeville, Chicago, Illinois, Sept. 28, 2023.

Travels of a Scenic Artist and Scholar. The Forum in Bronzeville, Chicago, Illinois, Sept. 28, 2023.

Copyright © 2023 by Wendy Waszut-Barrett

The Forum Theatre on July 18, 2023.

Interior of the hall and stage at The Forum. Sept. 28, 2023.

A remarkable Sosman & Landis drop curtain was discovered on the south-side of Chicago this year.  On Thursday, Sept. 28, 2023, I scheduled a visit to examine it and other historic scenery at The Forum in Bronzeville. Located approximately six miles south of Chicago’s Loop, the building is situated on the northwest corner of East 43rd Street and South Calumet Avenue. It is immediately east of 43rd Street ‘L’ Station, making it very accessible from other areas of the city. The Forum is part of the Grand Boulevard community, with other Bronzeville communities including Douglas and Oakland. The stage is situated on the second floor with retail spaces below.

Here is a link to The Forum website: https://www.theforumbronzeville.com/

The Forum scenery collection first came onto my radar this summer. On July 18, 2023, Brian Traynor sent me a photograph with the text, “Guess what I’m looking at.” It was a Sosman & Landis signature on the corner of a drop curtain. 

Photograph texted to me by Brian Traynor on July 18, 2023.

This prompted a flurry of exchanges, with me asking for more information.  Traynor was at the Forum with Mary Margaret Bartley and several other Forum stakeholders. After visiting the Forum earlier that year, on an open house day, it was Bartley who set the wheels in motion to unroll and examine the drops with Traynor in tow.

On July 19, I spoke with Bernard Loyd, PhD, current owner of The Forum. He is also the founder and president of Urban Juncture and on the Build Bronzeville Team.

Bernard Loyd. Here is a link to his bio: https://www.buildbronzeville.com/bernard-loyd

Occasionally, you meet a person who radiates so much positive energy that they instantly draw you into their vision. That is what happened to me when I shook hands with Loyd and ascended the Forum’s grand staircase during my visit. The energy radiating from both Loyd and the building are palpable, creating an inescapable pull to this project as you envision the potential. You don’t even have to shut your eyes to imagine what this space once was, and what it could be again.

The Forum was placed on the National Register of Historic Places. Here is a link to the report: https://npgallery.nps.gov/GetAsset/173ee985-447e-46a1-8654-a1ebfdae0bc1

Loyd’s fight to preserve the Forum from the wrecking ball is part of a much larger movement in within the neighborhood. In 2019, Three years later, the the Bronzeville-Black Metropolis National Heritage Area was established with the hope of preserving more than two hundred locations between 18th and 71st Streets. 

During my visit we unrolled the scenery and discussed the subject matter, use and current condition of the collection.

Michael Beavers and Brian Traynor preparing a roll drop for storage.

Here are the rolls of scenery that were discovered by Michael Beavers in the attic.

Loyd contacted Book Club Chicago journalist Jamie Nesbitt Golden to be there and possibly write a story about the significance of the painted scenes. Colin Boyle. Also, in attendance that day were Book Club Chicago photographer Colin Boyle, Michael J. Beavers, Brian Traynor, and Ayana Simone Loyd.

Left to right: Brian Traynor, Bernard Loyd, Colin Boyle, Jamie Nesbitt Golden, Ayana Simone Loyd, and Michael Beavers.

Here is the link to Jamie Nesbitt Golden’s article with pictures from our visit that day: https://blockclubchicago.org/2023/10/01/bronzevilles-the-forum-uncovers-century-old-hand-painted-scenic-theater-backdrops/

After our visit, Loyd followed up with an email to the group. It ended with his writing:

“I can’t help but comment on how the Forum drop seems like a perfect metaphor for both The Forum and the Bronzeville community, of which The Forum was a central hub.  They’ve all been challenged, battered, and all but discarded, but against all odds they’ve survived and they’re still incredibly rich and connected.  As we figure out how to tap into that cultural wealth and reactivate those dormant links, we will bring the drops, The Forum, and our community back to their full vibrancy.”

You may see why I am compelled to help Loyd and the Forum History Team. Seldom do I meet a theatre owner who immediately understands the cultural significance of the extant scenery.

My post could end here with some lovely shots of the scenic art. This is far too great of a cultural discovery to dismiss. For the past few days, I decided to do some extensive research for the Forum History Team, placing this scenery collection within the context of local, regional and national histories. 

This project also ties in with my current research regarding marginalized groups in technical theatre history, those that were often left out of theatre history books. For the past few years, I have been exploring the lives and careers of 113 Sosman & Landis employees, a firm that employed both women and people of color. When people were not included in written histories, it does not mean that they were not present.

The Forum Scenery Collection

The Forum’s historic stock scenery collection includes a drop curtain, landscape, street scene, grand border, and three sky borders (light blue).

Drop Curtain and grand border delivered by Sosman & Landis to The Forum in 1897.

Painted detail on drop curtain with extensive water damage.

Street Scene roll drop delivered by Sosman & Landis to The Forum in 1897.

Painted detail on street scene.

Painted detail on street scene.

Landscape roll drop delivered by Sosman & Landis to The Forum in 1897. Brian Traynor (left) and Michael Beavers (right).

Painted detail on landscape drop.

These seven tattered and water-stained pieces are all that remain of the Forum’s original stock scenery collection, delivered by Sosman & Landis Scene Painting Studio in 1897.

For context, when a stage does not have space above the stage to raise painted scenery, the only viable option is to used roll drops or framed shutters.

The Forum stage.

Here are a few example of a roll drop collections to help understand how these pieces were stored above a stage without a fly loft.

Roll drop collection in Danville, Virginia.

Roll drop collection in St. Paul, Minnesota.

Roll drop collection in Milwaukee, Wisconsin.

End view of roller on a drop at The Forum.

There are a few miraculous moments that saved The Forum scenery. The first moment was when the scenery was lowered to the stage floor for a final time. It was carefully rolled, not ripped away from the top battens or bottom rolls. The second moment was when these scenes were moved to the attic for safe keeping.  It is amazing that the scenery was not either given to another venue or thrown away. Someone made the decision to keep the scenes and tuck them away in the attic. We may never know who the person was, or what their motivations were; however, I consider this unknown individual to be the first steward of the Forum scenery collection.

The third moment was when Michael Beavers discovered the dust-laden rolls and knew that they were historic theatre scenery. The fourth moment was when Loyd immediately understood that they were worth saving, signaling new stewardship.

Stage Scenery

I am going to start with the functionality of the drop curtain, and accompanying stage masking.

The drop curtain was designed to pair with not only painted top border, but also two side tormentor wings. Only The Forum drop curtain and grand border survive. Here is an example of a grand border and two tormentor wings.

Grand Border and Wings delivered to the Tabor Opera House in Leadville, Colorado, by the Kansas City Scenic Co. in 1902.

This top piece is also referred to some as a valance or teaser. Keep in mind that terminology varies from one region to another, and one decade to the next. When it was manufactured and installed by the Sosman & Landis studio, they termed the painted top piece as a “Grand Drapery Border.” Its listing in the firm’s 1894 catalogue included the following definition: “Made to represent rich and massive drapery and matches the drapery on the tormentor wings.”

The grand border delivered by Sosman & Landis in 1897.

Painted detail on grand border.

The measurement for the grand border and three sky borders were 30’-0” long.  The three sky borders were painted as a single 9’-0” x 30’-0” drop in the studio and then cut into the three pieces. The original size remains on the back of one sky border.

Charcoal notation with measurement for the piece of Fabric that was sent from the fabric room to the paint studio at Sosman & Landis. This was standard procedure throughout the firm’s history.

The catalogue described the accompanying side pieces:

“Tormentor Wings – Represent columns with elaborate base and rich drapery at top and side. These wings are stationary ones, set three or four feet back of and parallel with the drop curtain.”

Here is an example of a tormentor wing design, like what may have been paired with The Forum’s drop curtain and grand border. These three pieces (drop curtain, grand border, and tormentor wings) typically reflect the color scheme of an auditorium or hall, unifying all decorative elements.

Drapery detail on drop curtain. This color scheme was reflected in the extant grand border and would have been incorporated into the two missing tormentor wings.

Tormentor Wing Design. Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives., Accessed November 16, 2023. https://umedia.lib.umn.edu/item/p16022coll116:117

Tormentor wings were framed pieces that functioned as masking, to conceal the side stage. Working in conjunction with the grand drapery border, when the drop curtain was “out” (rolled up to reveal the stage), the three pieces framed all other painted compositions, such as the Forum’s landscape and street scenes.

A description of a standard drop curtain was included in the 1894 Sosman & Landis catalogue:

“Drop Curtain – Representing some romantic or historic view, with rich and elaborate drapery and gold frame.” The selection of “some romantic or historic view” often included popular artworks of the day.

It was quite common to replicate a painting or sketch, with the scenic artist taking a few liberties. Henry C. Tryon used William Linton’s painting, “A City of Ancient Greece – Return of the Glorious Armament” for the subject of the Salt Lake Theatre drop curtain in 1882. Tryon titled his drop curtain, “Return of the Victorious Fleet,” for the Salt Lake Theatre in 1882.

Illustration of William Linton’s painting (left) and photograph of Henry C. Tryon’s drop curtain for the Salt Lake Theatre (right). Both are from the Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives.

William Linton’s painting, “A City of Ancient Greece – Return of the Glorious Armament.”

Similarly, an artist at the Twin City Scenic Company in Minneapolis, Minnesota, designed a drop curtain with the central view replicating Thomas Moran’s “Sunrise on Ruins at Cuernavaca, Old Mexico.” Paint droplets still coat the copy once used by the scenic artist. Prints were readily available of his work and even included in the 1912 publication Three Wonderlands of the American West by Thos. D. Murphy.

A print of Thomas Moran’s “Sunrise on Ruins at Cuernavaca, Old Mexico” (left) and Twin City Scenic Co. drop curtain design (right). Both are from the Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives.

Here is an example from the Twin City Scenic Company Collection of the scenic artist’s source, the design and final drop curtain for Milton, North Dakota.

Print and corresponding drop curtain design. Both are from the Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives.

Realized backdrop by Twin City Scenic Company scenic artists for the Opera House in Milton, North Dakota. Photograph by Dr. Lawrence Hill.

Black and white photograph of Milton Opera House that shows more detail. Photograph by Dr. Lawrence Hill.

This brings us to the central subject on the Forum drop curtain – the Roman Forum.

The central composition of the drop curtain for the Forum. Painted by a Sosman & Landis scenic artist, currently unidentified.

The Subject

The composition is almost identical to the Stefano Donadoni (1844-1911) watercolor painting entitled “Foro Romano.”

It was his red signature (S. Donadoni) in the left corner that caught my eye; a signature with the same color and placement as the Sosman & Landis signature on the 1897 Forum Drop Curtain.  

Red signature by Stefano Donadoni.

Sosman & Landis signature on drop curtain and The Forum (left). Sosman & Landis signature on drop curtain for the opera house in Lisbon, North Dakota. This is the first Sosman & Landis signature that I have encountered in red.

This Donadoni watercolor painting has been repeatedly sold at auction over the past few decades. However, I found that in 2007, it sold as part of a pain.

Painting listed a Bonhams when sold as part of a pair in 2007. More recent auctions took place in Florida.

I located mention of an “S. Donadoni” painting titled, “The Forum, Rome,” as part of the Bath and West England Exhibition at St. Alban’s (Bathe Chronicle 4 June 1896, p. 6). I have yet to find an exact date for the painting. Nor do I have any indication of how many Donadoni paintings depicted the Roman Forum. However, Donadoni watercolor paintings are listed as part of exhibitions in English newspapers as early as 1893 (Western Morning News, Exeter, 25 Aug 1893, p.3).

Donadoni’s work was also known in the United States, kept in both private and public collections. For example. Donadoni’s “Castle of St. Angelo and St. Peter at Rome” was even listed for as part of an exhibition (the Wilbur Collection) at the Morgan Building in Buffalo, New York (The Buffalo Commercial 24 April 1900, p. 10 and The Buffalo Review 21 April 1900., p. 4).

As mentioned above, nineteenth-century scenic artists used illustrations, photographs and prints when replicating subjects for drop curtain composition. I have yet to find any concrete evidence of a scenic artist using an original fine art piece as a source during the scene painting. Part of this has to do with liability. Painting near an original artwork is also risky, for fear of platter damaging the work.

As with Donadoni’s watercolor painting, the Sosman & Landis drop curtain depicts the Roman Forum with several figures to for scale. The addition of figures in any composition helps the viewer understand the scope of a landscape or the height of a building. Such is the case with the Forum drop curtain.

Of the ten figures, four are located on Via Sacra (Sacred Street), the large main street of ancient Rome that led from the top of Capitoline Hill to the Colosseum, passing through religious sites and the Forum. Four are positioned in front of the Temple of Saturn (colonnade): one is looking back toward the Via Sacra; and three are gazing at the Basilica Julia ruins. It is extremely unlikely would be pointing to something outside of the picture. It is very telling that he is indication to the ruins of a public building that once housed meetings, shops, and hosted civil court cases.

What is truly remarkable about this active group is that they are not all white. This is the first time that I have ever encountered a grouping of black people on an extant drop curtain.  After closely examining the paint application, finish, placement, shadow work and the surrounding area, the inclusion of these three individuals appears to be original. I don’t believe that any of the figures were added after the painting was delivered.

These figures are so small that their race would not be discernable from more than ten feet away.

My hand next to the figures for scale.

Detail of figure.

Detail of figures on Via Sacra railing.

Detail of figures on beyond the Temple of Saturn .

Detail of figures on Via Sacra railing.

From another historical perspective, the Forum was the center of daily life in Rome for centuries. This was the setting for speeches, processionals, public trials, and gladiatorial events. It is now surrounded by the ruins of several government buildings. For many, this iconic space is the most celebrated meeting place in the world. In many ways, Forum Hall shared a similar function, with the drop curtain solidifying this connection. There is no mistaking that the subject matter for the curtain was based on past and present notions of “Forum” in 1897.

View of the Roman Forum from the Capitoline Museums in Rome. Here is a link to the photograph taken by Wolfgang Moroder: https://en.wikipedia.org/wiki/Roman_Forum#/media/File:Foro_Romano_Musei_Capitolini_Roma.jpg

The Forum Club

Forum Clubs were quite popular in 1897. Some were debate teams attached to colleges and universities. Others were literary organizations with guest lecturers. Other Forum Clubs were formed to discuss the state of inequality.

For example, on Saturday, Dec. 25, The Appeal in St. Paul, Minnesota published the following announcement:

“Prof. O. M. Woods in his report to the Forum Club, reviewed the ‘criminal status of the Negro race.’ He scored the convict system of the South, and cited facts and statistics showing the comparative length of terms served by white and Afro-American criminals for the same offense, and the alleged manner in which the entire administration of justice was so warped to the prejudice of the Afro-Americans that their condition in many states was rendered but little better than that of the slaves of ante-bellum days” (p. 2).

In 1897, there was also a Forum Club that met in Forum Hall. Purportedly it was a dancing organization, but I am suspect. On Sept. 12, 1897, The Chicago Chronicle announced “A new dancing organization, the Forum Club, has been organized on the south side, and will give its opening party at the Forum hall, Calumet avenue and Forty-third street, Wednesday, Sept. 29: (p. 40). Another announcement appeared later that month, providing a little more information about this new social organization. On Sept. 29, 1897, in the Inter Ocean announced:

“The Forum club, a new social organization of about 100 young men of the neighborhood, will give here a series of parties this season. Officers have yet to be chosen, and thirty more members will be elected.”

This Forum Club was an all-male organization with limited membership and elected officers, like any business or fraternal organization at this time. It is possible that the Forum Club was meeting for reasons other than dancing. However, advertising and meeting as a “dancing club” allows a large group of 100 young men to not only gather, but also publicly announce their gatherings without any repercussions.

When Forum Hall was built in 1897, there are several other aspects of American history to consider.  I’m going to start with the use of the word “Forum” in in the establishment of organizations dating from 1897.

The Forum Club of St. Louis

I am going to pause for a moment and look at the Forum Club of St. Louis, as it provides context withing the framework of American history in 1897-1898. At the time, the St. Louis Globe-Democrat described the organization’s membership as “leading business and professional men of the negro race” (13 Dec 1897, p. 10).

As noted in the 1897 Chicago Tribune newspaper article: “The Civic League will stand for good citizenship and be based somewhat on the Forum Club of St. Louis.”

The Forum Club of St. Louis was described in St. Louis Globe-Democrat on Jun 15, 1896, published an article entitled, “The Colored Contingent,” reporting “The Forum Club, a Republican organization, composed of over 1500 colored business and professional men of this city” (p. 9).  This was a gathering of African-American delegates for the National Republican Convention in St. Louis. Representatives from all over the country attended the event, including Hon. George W. Murray, described as “the only negro Congressman in the present House of Representatives.” On May 25, 1896, The St. Louis Post-Dispatch “The Forum Club, an organization of the leading colored citizens of the city, is making a special effort to properly entertain the colored delegates to the National Republican Convention” (p. 8).

There was a conservative backlash to this moment of progress across the country, including the African-American massacre and coup d’état in Wilmington, North Carolina. If you are unfamiliar with this Nov. 8-10, 1898 tragedy, event, visit the Cape Fear Museum page https://www.nhcgov.com/604/Wilmington-Massacre-1898 and examine the interactive map with details: https://nhcgov.maps.arcgis.com/apps/MapJournal/index.html?appid=5a4f5757e4904fb8bef6db842c1ff7c3

This stain on our democracy should never be forgotten.

The Forum Club of St. Louis responded to the tragedy. Newspapers across the country reported on their response. On Nov. 25, 1898, The Clinton Register of Clinton, Illinois, reported, “The Forum club of St. Louis has compiled as address to President McKinley asking him to recommend to congress such legislation as will do away with the massacre of negroes in the south” (p. 8). Here is the link to the “Address of the Forum Club, of St. Louis, Missouri, to Hon. William McKinley, President of the United States, November 1898” at the Harvard Libraries: https://curiosity.lib.harvard.edu/slavery-abolition-emancipation-and-freedom/catalog/74-990012311570203941

The Forum Club of St. Louis as a Model for The Civic League in Chicago, 1897

The founders of the Civic League in Chicago were from the city’s south side.

On Jan. 22, 1897, the Chicago Tribune published an article about the formation of an organization modeled after the Forum Club in St. Louis, Missouri (page 7). The article was entitled, “To Lift Up the African”, with subheadings “Chicago Colored Men will Organize the ‘Civic League.’ Body will make war on crime and degradation with the especial object of improving socially and politically the Black Race – Forum Club of St. Louis suggests the foundation lines – Dr. George C. Hall on a meeting for Sunday.”

The article continued:

“Representative colored men of Chicago are banding together for a war on crime and for the advancement, in all legitimate ways, of reputable representatives of the negro race. The organization, which will be formed next Sunday at No. 2718 State street will be known as ‘The Civic League.’ It’s president will be Dr. George C. Hall of No. 533 State street.

Interested with Dr. Hall in the new organization are T. W. Jones, W. W. Lytle, George Allen, Hannibal Carter, Dr. G. M. Crissup, Dr. A. M. Curtis, Dr. E. E. Barr, W. F. Taylor, and others. These men recently at No. 2718 State street and entered into a full and elaborate discussion of the negro problem.”

[I am going to pause here to mention that 2718 State Street was a building with retail space below and apartments above. In the early 1890s the retail spaces had included as saloon. The address was also listed as a 4th Ward polling place, and continued to be listed as such in 1908]

The article continues:

“As a step in the direction of settling it, it was decided to form ‘The Civic League.’ Dr. George Allen, T. W. Jones, W. W. Lytle, and T. J. Bowers were appointed a Committee on Constitution and By-Laws, and will report next Sunday. Discussing the aims and purposes of the proposed league, Dr. Hall said last night: ‘To the fact that the American negro has entered upon the second quarter of a century of his emancipation without having obtained full measure of American citizenship decreed to him by the Constitution it is unnecessary to give more than passing attention. Self-evident truths need no argumentative demonstration. What we mean to do is simply this: To take a survey of the relative position and importance of the negro citizen as compared with other citizens of this community in which he lives; and when we find two classes of citizens, under the same auspices, with equal  civil advantages, the one rising to a degree of almost unexampled power and eminence and the other sinking into a state of comparative obscurity, it is our determination to trace out the causes which have led to the elevation of one class and the depression of the other, and to use our most earnest endeavors to utterly extirpate whatever opposes the program and prosperity of any class of citizens in this country.

‘This survey we have casually made. We do not complain that our liberties are few, but that in this land of boasted freedom, where ability and good citizenship are the standards by which all the competitions of life are governed, the negro’s tenure of almost every public right is somewhat mutilated by arbitrary discriminations against him. In fact, in every race in which he enters he is first declared an inferior competitor and then handicapped and hobbled by an unjust race prejudice.

‘It must be recognized that the better the negro citizen can be, the better it will be for all classes of citizens. The negro’s grievance is that the better public citizen’s he tries to be these discriminations that are made against him are the most unbearable from the fact that they act as impediments not to his lower nature but to the aspirations of his higher nature.

‘As long as the negro is content to be a ragamuffin and a bootblack, frequent the vilest and lowest places of amusement, hang about the streets, shun all public places designed for the intellectual and moral welfare of the citizens, shun schools and colleges, keep out of professions and trades, no white man on earth could be much more free than he finds himself. But the moment he attempts to rise above such a life as this he is galled and tormented with ignominious discrimination against him as a public citizen, both by custom and (in some States) by law; and finally his mother, wife, his sister, and his daughter are encouraged to lead ignoble and are discouraged to lead nobler lives.

‘Many white men have had the honesty and boldness to step forward and proclaim the truth, while others have willfully traduced the negro, who proposes to stay in this country and is eager to be a citizen without any special rights or restrictions.

‘The Civic League is going to help the negro if it can, but not by pulling down the white man. It will make a feature of suppressing crime, and will act in full harmony with any existing organization which has for its objects the betterment of the whole people. Only by these means can the standard be raised.

‘We shall not demand anything, while we may respectfully request a number of things. We would like representation where labor of all kinds is employed, but we will leave it optional with the employer who he hires, contenting ourselves with giving endorsement of the league to a man we may decide is worthy to represent our race.

‘The Civic League will stand for good citizenship, and be based somewhat on the Forum Club of St. Louis. It’s officers will be business-men who can live without politics. If we cannot stop crime, we can locate the blame and fight that.”

On Jan. 25, 1897, The Chicago Chronicle announced,

“Civic League of Illinois

Colored Citizens Organize.

The Civic League of the state of Illinois was formally brought into existence yesterday afternoon at a meeting of colored persons held at 2718 State street. Thirty-two men in business and professional occupations discussed the methods to be employed by the new organization under the presidency of George C. Hall and voted on a constitution and by-laws and elected officers. The object of the league is to get the moral support of the north to enable the league to educate its kindred in the south and to endeavor to get trades unions to raise the bar they have placed against the admission of colored men” (page 7).

The same day, an announcement was made in the Inter Ocean published an article entitled, “To Educate Colored People” (page 8). It reported:

“The Civic League of the State of Illinois was formally brought into existence yesterday afternoon at a meeting of colored people held at No. 2718 State Street [3rd Ward]. Thirty-two men in business and professional occupations discussed the methods to be employed by the new organization under the presidency of George C. Hall, voted on a constitution and by-laws, and elected officers. The object of the league is to get the moral support of the North, to enable the league to educate its kindred in the South, and to endeavor to get trades unions to raise the bar they have placed against the admission of colored men. The league also expects to make the members of the race rejected by the white people in the communities in which they live. The following officers were elected: President Dr. George C. Hall; first vice-president, Hannibal C. Carter; secretary, Dr. G. M. Crissup; treasurer, T. W. Taylor. The board of directors will be selected at a future meeting, but it was determined to apply for a charter at once. The purposes of the league, as pronounced in its constitutions, are to foster and promote by every lawful use of the pen, the press, the mail, the law, the courts, by public assemblage and petitions, and by all proper stimulation of public sentiment, the legal and conventional recognition, establishment, and protection of all men in the common right of humanity, and of all citizens of the State of Illinois in the free enjoyment of every civic right, without distinction on account of birth, race, or private social status.

President Hall was very enthusiastic in his belief that the league would meet with success in its efforts. He said that it would not be allied in any manner in politics, except in the highest sense, and that the organization would aim to help the colored man in every possible manner. The roll members admitted yesterday contain the following names: J. E. Brown, George W. Lytle, Dr. SA. M. Curtis, S. J. Evanz, H. J. Bowers, H. S. Sanderson, R. W. Lacey, James H. Tillman, George D. Allen, E. J. Alexander, A. S. Cooper, H. M. Gibson, R. B. Cabell, and W. F. Tyler.”

Dr. George C. Hall, The Civic League’s first president

Dr. George C. Hall lived in Chicago’s 4th Ward

I am going to take a moment and examine Civic League’s first president, Dr. George C. Hall. He, and vice-president Hannibal C. Carter, both lived in Chicago’s 4th Ward; Hall at 3616 Dearborn and Carter at 3236 Dearborn. Although the ward’s boundaries continued to shift since formation in 1837, in 1887 the 4th Ward was bounded by Lake Michigan, 33rd and 39th streets and Stewart Avenue. Here is a map of the 4th Ward in 1900 when both Hall and Carter were counted in the census. Keep in mind that The Forum was immediately below the 4th Ward, in the top section of the 32nd Ward.

Image of Chicago’s 3rd and 4th ward in 1900. Image from Chicagology.com

In 1901 the ward was extended west to the Chicago River, where it would remain until 1923 when the City was divided into 50 modern wards.

Dr. George Cleveland Hall was born on Feb. 22, 1864, in Ypsilanti, Michigan, the son of John Ward Hall and Romelia Buck Hall. His father was a Baptist minister and the family moved to Chicago where Hall attended public schools. He matriculated at the Pennsylvania’s Lincoln University, graduating in 1886. He returned to Chicago where he received medical training at Bennett Medical College, graduating in 1888. In 1896 he graduated from Chicago’s Harvey Medical college, assisting in gynecology the nation’s first black-owned and managed hospital, Provident Hospital. The following year, he became president of the Chicago Civic League. His accomplishments are remarkable, and Hall is remembered for his many civic activities, including the founding of the association for the ASALH at the Wabash YMCA in Bronzeville with educators Carter G. Woodson, William B. Hartgrove. A. L. Jackson, and James E. Stamps. This later became the largest organization of black professional and public historians. From a medical standpoint, Hall remained active with Provident Hospital as a surgeon, trustee, chief-of-staff, and organizer of the first postgraduate courses. Hall also founded the Cook County Physician’s Association of Chicago, an organization of black doctors. This list of his accomplishments goes on and on.

Hannibal C. Carter, The Civic League’s first vice-president

H. C. Carter. His portrait was attached to his obituary in many newspapers, included “The Appeal” of St. Paul, Minnesota, on 11 June 1904, p. 4.

Here is a little information about this remarkable man. There are several biographies floating about with conflicting information. Here is what I have gathered from historic records and newspaper accounts. Keep in mind there were a few men living with the same name at the same time.

Capt. Hannibal Caesar Carter was born in February 1835 in New Albany, Indiana, the son of George Washington Carter and Ann Hill Carter. Although his family briefly moved to Canada, between 1837 and 1839, where two children were born, they returned to New Albany by 1840 where they were counted in the census. They were again listed in the 1850 census report for New Albany, Floyd County, Indiana. Interesting, in this census the occupation for Carter’s father was listed as “digging gold Cal.” In 1862, military records list Carter as a Captain in the 74th Regiment US Colored Infantry (Companies C and H). More information about his military history was detailed in The Appeal on July 25, 1891, “With his father he was on the Mississippi Steamer Vicksburg when the war broke out. This steamer ran on the lower Mississippi and a few days after Nutler occupied New Orleans, Carter, and his brother Edward made their way to him in safety. Shortly after they arrived, they petitioned General Butler to allow them to raise a regiment of Colored troops. This request was granted, and in October 1862, was mustered into the service….He was captain in the Second regiment Louisiana Native Guards, Corps d’Afrique. He assisted in the reconstruction of Tennessee, in 1867, and was elected from the Eighth congressional district in 1868. In 1868 he went to Mississippi and assisted in the reconstruction there. He represented Warren County, Miss., in the state legislature three times and was twice appointed secretary of the state. He was a candidate for congress in the famous district against General J. R, Chalmers …He removed from Vicksburg ten years ago and assigns as a reason that it ceased to be a healthy locality for a free man” (p.3). When Carter moved to Chicago, he was initially listed in directories as a clerk and notary. His 1906 obituary remembered, “He has resided in Chicago for over twenty years, and has taken a great interest in politics, and was quite an orator and political worker” (The Appeal, 11 June 1906, p. 4).

Here is a link for more information about the Corps d’Afrique: https://www.blackpast.org/african-american-history/1st-louisiana-native-guard-usa-corps-d-afrique-1862-1863/

It is sometimes difficult to track down individuals who served with multiple regiments or those that were consolidated. For the record, in April 1864, the three Native Guard regiments (1st, 2nd, and 3rd Corps d’Afrique) were dissolved, and its members were placed in the newly organized 73rd and 74th Regiments of the United States Colored Troops. By the end of the war, there were 175 USCT regiments, constituting about -one-tenth of the army’s manpower.

I am going to briefly pause here and make a connection. Sosman & Landis were founded by Joseph Sosman (1846-1915) and Perry Landis (1848-1904), both Civil War veterans who fought with the Union Army.  Sosman’s older brother, Capt. William Sosman fought in the war for several years; his final commission being second lieutenant in the 106th regiment, U. S. Colored troops. Capt. Sosman’s son, worked as a scenic artist at Sosman & Landis during the 1890s. At one time most Sosman & Landis employees had fought in the Civil War. I have yet to locate any of their staff who were members of the Confederacy.

Here is the link to “Joe Sosman – From Solider to Sign Painter” https://drypigment.net/2022/12/18/sosman-landis-shaping-the-landscape-of-american-theatre-joe-sosman-from-soldier-to-sign-painter-1864-1874/

Here is the link to “Perry Landis – From Soldier to Salesman” https://drypigment.net/2023/06/13/sosman-landis-shaping-the-landscape-of-american-theatre-perry-landis-from-soldier-to-salesman/

Joseph S. Sosman (top left) and Perry Landis (lower right) pictured in their 1889 catalogue.

Albert Emmet Kent

On April 7, 1897, The Chicago Chronicle announced “S. A. treat has designed a two-story store and hall building which A. E. Kent proposes to erect at Forty-third Street and Calumet avenue. It will be 130×83 feet. The hall will have a seating capacity of 700 and the building will be furnished in the modern style at a total cost of about $20,000” (page 21).  A. E. Kent was Albert Emmet Kent (1830-1901), a well-known businessman who many considered to be the founder of the Chicago’s great meat packing industry. As remembered in his 1901 obituary, “Thirty years ago Mr. Kent was one of the leaders in the commercial life of this city. He was one of the organizers of the Corn Exchange and old Third National banks, and of the board of trade. He was also the originator of the optional system of trading, without which boards of trade would be impossible. But his greatest achievement lay in the founding of the great packing industries which have made Chicago famous the world over” (The Inter Ocean 9 Jan 1901, p. 3). His story is quite something.

For health reasons, Kent moved with his family to San Raphael, California, in 1871. By the way, he moved prior to the fire. Although he remained in the West Coast, his name continued to be listed in dozens of Chicago real estate transaction and building projects. His only surviving child, William Kent, had long charge of his father’s great real estate interests. In 1890, William became a partner in the real estate firm, A. E. Kent & Son, Co. Although A. E. Kent was listed as the owner of the Forum Building, it is highly unlikely that he participated in the planning or décor.  This was simply a profitable investment for his real estate firm, intended to be rented to local residents. The demand for popular entertainment and meeting facilities often surpassed the supply theaters. The Kents likely considered another factor when constructing the theatre – transportation. The South Side “L” began making stops at 43rd, 47th and 51st streets in the Grand Boulevard community. The 43rd street stop for the “L” line was right at the Forum Theatre building.  There is a fantastic page at the Encyclopedia of Chicago Website that examines the shifting demographic of residents and how Grand Boulevard became the “hub” of “Bronzeville.” Here is the link: http://www.encyclopedia.chicagohistory.org/pages/537.html

Samuel Treat

Now I am going to explore the career of The Forum’s architect, Samuel Atwater Treat (1839-1910), and his connection with Sosman & Landis.

On April 3, 1897, the Forum Building was described in an article for The Economist: A Weekly Financial, Commercial, and Real-estate Newspaper (p. 374):

“Samuel A. Treat, Fisher Building, has prepared plans for the improvement of the northwest corner of Calumet avenue and Forty-third street. The property is owned by A. E. Kent, and the plans show the entire frontage of 130 feet on Forty-third street and 83 feet on Calumet avenue are to be covered with a two-story building to be devoted to stores on the main floor. On the property immediately on the corner above the stores there will be erected a lecture and amusement hall, 61×64 feet. The auditorium will have a seating capacity on the main floor and gallery of about 700. It will be reached by two flights of stairs, the principal one being from the Forty-third street entrance, and the other from Calumet avenue. Dressing rooms for ladies and gentlemen will be provided and also a dining room and kitchen. The interior views show a tasteful and appropriate arrangement of the gallery, proscenium and inglenook. The building throughout will be heated by steam and the auditorium will be ventilated by mechanical devices. It will be lighted by incandescent lights. The cost of the building will be $20,000, and it is to be ready for occupancy September 1. The same architect is making extensive improvements in the building at 51 and 53 Plymouth Place for Mr. Kent.”

When Treat designed The Forum, he was 57 yrs. old.

Born on Dec. 29, 1839, in New Haven, Connecticut, he worked for the architectural firm of Sidney M. Stone after graduating from the Collegiate and Commercial Institute in 1856 (now known as the Russell Military Academy).

Link to the source: https://en.wikipedia.org/wiki/Russell_Military_Academy#/media/File:Russell_Military_Academy_1860.jpg

This means that as a young man, Treat in the same town as Sosman & Landis scenic artist, David Austin Strong, nine years his senior. (1830-1911) In the 1850s, Strong worked as a sign painter, scenic artist, and stage manager at Homan’s Theatre, located in the Exchange building.

In 1867, Treat relocated to Chicago initially working with the form Randall & Co.  After the 1871 Great Chicago fire, he partnered with Fritz Foltz to establish Treat & Foltz. The two worked together for almost two decades. Foltz was extremely connected with the musical scene in Chicago during their time together. From approximately 1890-1910, Treat conducted his own business in Chicago. Less than a year after Treat’s passing, Strong also died.

Strong had moved to Chicago in 1874, working at various Chicago theaters until joining the staff at Sosman & Landis in by 1886, where he remained until his passing in 1911. Strong was extremely well known in the throughout the country, as was his employer. On Feb 28, 1886, an article in the Inter Ocean included his portrait and a short biography: “Among the oldest and best-known scenic artists in Chicago is David A. Strong, whose name adorned Haverly’s bills in the latter’s palmy days, but who is now in the Sosman & Landis establishment. He was born so far back that he skillfully dodges the issue when questioned as to the exact time. His professional career was commenced in Howard’s Atheneum in Boston twenty-five years back, He was then engaged several years stocking the larger New England theaters with scenery. He painted in the National Theatre in Washington for four years during the war. Then went to the Chestnut at Philadelphia, under Len Grover’s management, He then worked in New York at the Olympic and later at Niblo’s. While at the latter place with Marsden he got up the original scenery for the ‘Black Crook.” He then painted the panorama, ‘The Mirror of Ireland,’ famous in the East some time ago, and traveled with it for four and a half years. When Grover and Call opened the old Adelphi in this city, Mr. Strong was induced to come West, and has remained here ever since, working in several of the first-class theaters” (page 9).

David A. Strong pictured in 1886.

Meanwhile, Treat partnered with Fritz Foltz, and the two worked together until 1897. There is much more that can be written about Treat, but I am going to stop here, and 1897 forms another link with the Sosman & Landis Studio.

On Dec. 11, 1897, Treat was listed as an architect for the Western Electric Co. in The Economist (p. 665). The Western Electric Co. Building was located directly across Clinton street from Sosman and Landis Scenic Studio. They had shared a long history with Western Electric erecting its plant in 1883 and Sosman & Landis building their studio three years later. In 1893, Western Electric worked close with the scenic studio on several Columbian Exposition projects, including a large display in the Electricity building.

Western Electric’s Egyptian Temple Pavilion in the Electricity Building, Columbian Exposition, 1893.

For more information about this exhibit, visit: https://chicagology.com/columbiaexpo/fair041/

The Sosman & Landis studio not only included an electrical department, but the firm’s founders were instrument in establishing and operating the American Reflector & Lighting Company. In fact, Perry’s older brother, Joseph Landis, was the general manager. There is no doubt in my mind that Treat had worked with Sosman & Landis before The Forum project.

Sosman & Landis Scenic Studio, 1897

1897 was a big year for Sosman & Landis. It was their 18th year in Chicago, having first set up shop at 236-238 Clark Street. In 1886, they constructed a scenic studio that was advertised at the largest in the country.

The Sosman & Landis Studio on Clinton Street.

Interior of the Sosman & Landis studio on Clinton Street

Another view of the Sosman & Landis studio on Clinton Street, c. 1910.

By 1894 the firm had delivered scenery to approximately 4,000 theaters throughout North America.  By 1902, that number had increased to 6,000. In addition to stock scenery, the firm also painted spectacles for touring shows, grand circus spectacles, amusement park rides, world fair attractions, industrial shows, charity events, and more. I am in the process of writing the book “Sosman & Landis: Shaping the Landscape of American Theatre.”

There was so much work coming into Sosman & Landis during 1897 that they had two studio spaces in Chicago, and several regional branches. The main studio was located on Clinton Street, with a second studio at the Alhambra Theatre. Thomas G. Moses (1856-1934), the firm’s first employee in 1880, oversaw the second studio, often referred to as The Annex. After Sosman passed away in 1915, Moses was elected president of the firm.

1897 projects included stock scenery for the Alhambra Theatre (Chicago, Illinois), the Overland Theatre (Nebraska City, NE), the Pike Theatre (Cincinnati, OH), the Valentine Theatre (Toledo, OH), the Grand Opera House (Columbus, OH), the Opera House (Deadwood, SD), the Opera House (Grand Rapids, Wisconsin), and the Cedar Rapids Highschool (Cedar Rapids, Iowa), to name a few. In addition to delivering painted illusion, draperies, stage machinery and lighting systems, they also painted settings for a variety of 1897 touring productions that included “Booming Town” (Phil W. Peters and James Brown), “Pulse of New York”, “Uncle Tom’s Cabin” (Davis Bros. Co.); “The Grand Duchess” and Amorita” (Kirkland Calhoun Opera Co.)

In addition to their theatrical supply and manufacturing firm, Sosman & Landis were also heavily invested in theatrical management. In 1897, Sosman & Landis were listed as managers of the Masonic Roof Garden Theatre (Chicago). They were also operating a second theatre agency with David H. Hunt, known as Sosman, Landis & Hunt. They leased the Pike Theatre in Cincinnati and ran a touring stock company, as part of the Western Circuit of Vaudeville Theatres.

Sosman & Landis’s electric scenic theaters at the Masonic Temple Roof Garden were even featured on the front page of “Western Electrician” on June 9, 1894.

Detail of Sosman & Landis’ Electric Scenic Theaters.

This brings us to the question: “Who was the scenic artist for The Forum’s drop curtain?” I am currently in the process of reconstructing the studio staff for each year, having already written biographies for 113 staff members. This is a project that I have been working on for decades. It just takes time.

Opening Forum Hall in 1897

The dedication of The Forum was announced in The Inter Ocean on Sept 29, 1897, reporting: “Opening of the Forum.

New South Side Social Center is Fittingly Dedicated.

The opening night of the Forum, corner of Forty-Third street and Calumet avenue, inaugurated last evening a pleasant addition to the South Side’s social centers. The new hall is large and well appointed, and the Forum club, a new social organization of about 100 young men of the neighborhood, will give here a series of parties this season. Officers have yet to be chosen, and thirty more members will be elected.

A mixed programme of music and recitations was the inaugural feature, and the attendance was quite large, especially of the people of St. Alban’s church, just around the corner on Prairie Avenue. Those contributing the entertainment were from this parish, and the rector, Rev. G. W. Knapp, lent his presence. There was an overture by the Wadner orchestra, a banjo solo by Master Scott Dowd, a song by Mr. G. St. John Knefler, a whistling solo by Miss Raney, a piano duet by Misses Edna Morgan and Maud Lightner, reading by Miss Carolyn Cook, solo by Master Tommy Anderson, and a song by Miss Eugenia Bayard, and at 10:30 came informal dancing. Among those who shared the enjoyable evening were:

Messrs. And Mesdames –

W.M. Speer, Thomas Edwards, J. D. Eaton, Morgan.

Misses – Grace Dodge. Rose Hess, Mable Hess, Bella Waller, Ethel Moody, Nannie Fetterly, Leofoldine Morgan, Edna Morgan, Laura Taylor, Jeanne Wilcox, Mary Webber.

Messrs. – Otto Langbien, John Morgan, Clarence Morgan, C. R. Cole, Ed Fetterly, G. P. Fetterly.

As with all theater openings, not everyone who attended a dedication was counted. Often, there is neither rhyme nor reason to who is included apart from entertainment and social standing.

As the building boasted a seating capacity of 700, I highly doubt that only a few dozen attended the opening. What I am certain of, however, is that this was an event primarily attended by locals.

I was able to track down most individuals listed above, with almost all coming from the 3rd, 4th, and 32nd wards. In fact, most were listed in the 1900 census report. This means that I was able to look at the neighborhoods to see the examine the demographics. Many of the street included both white and black families. This really is a project for someone to sit down and map out; the households from one street to the next. I think of the 2009 publication entitled “Suburban Promised Land: The Emerging Black Community in Oak Park, Illinois, 1880-1980.” There needs to be a book that looks at the emerging black community near the Forum.

Activities at The Forum

The Forum was identified as a “lecture and amusement hall.” When the hall opened in 1897, a variety of groups used the space. Interestingly, newspaper announcements were published by those renting the space, not managing the space. This is a little odd, and I would live to track down who was opening the building and turning the lights on.

I have examined the following events between 1897 and 1901: wedding receptions, evening dance classes, orchestral programs, Calumet Assemblies events, Republicans of the Thirty-second Ward meetings, Thirty-second Ward Democratic Meetings, Political rallies, Violet Club receptions, Progressive Club gatherings, informal dances, lectures, Carter H. Harrison meetings for the Thirty-second Ward, St. Elizabeth Institute receptions, The Young Ladies Guild of Holy Angels Church card party and receptions, Colonial Club elections, De la Salle Alumni association reception and cotillons, the Gibson Informal, and Englewood Union Hospital Alumnæ association receptions. There are likely many more groups that used this space.

Interestingly, the William Kent (son of owner A. E. Kent) was listed as an attendee at a Forum event in 1898. Kent attended a meeting of the Thirty-second ward Republicans who gathered for the denunciation of Allen Law; Kent was listed as an ex-Alderman of the 4th Ward. (Chicago Tribune 2 Jan 1898, p. 10). By the way, here is the link to the William Kent Family Papers in the Yale archives: https://archives.yale.edu/repositories/12/resources/4044 The scope and contents of the collection “document Kent’s career as a municipal reformer in Chicago and Northern California; his interests in conservation, recreation, and public control of water power; his campaigns for election to Congress; his service in the United States House of Representatives and on the United States Tariff Commission; and his business interests in cattle ranches in Nebraska and Nevada. The papers also include materials relating to the activities of Kent’s wife, Elizabeth Thacher Kent, her family, and the Kents’ seven children and grandchildren. Papers of Elizabeth Thacher Kent document her interests in women’s suffrage, the Equal Rights Amendment, and international peace.” This is a rabbit hole that I cannot go down at this time.

Fraternal Activities

I have only located one stage production that took place in 1897. On Nov. 20, 1897, The Inter Ocean described a three-act war drama as as part of Thanksgiving festivities (p. 374). The article reported,

“SONS OF VETEREANS.

Colonel Ellsworth camp, No. 87, will give a grand Thanksgiving entertainment Thursday evening at Forum hall, corner of Forty-third and Calumet avenue, consisting of a three-act war drama and exhibition drill by the Burns Military School cadets. The entertainment will be followed by a dance. The Sons of the Veterans of Austin will visit the camp and G. A. R. post at Oak Park next Thursday evening” (p. 11).

Colonel Ellsworth Camp, No. 87 represented the Sons of Union Veterans of the Civil War, Middletown, Pennsylvania. This was an allied order of the Grand Army of the Republic (GAR), intended to preserve the history and legacy of the veterans who fought during the Civil War. Here is a link for more information: https://en.wikipedia.org/wiki/Sons_of_Union_Veterans_of_the_Civil_War

There was another fraternal activity that caught my eye when I entered the building for the first time – The Elks. There still is a door clearly marked with the Fraternity and C. A. Brown.

Improved Benevolent and Protective Order of Elks of the World at The Forum. This door likely led to the secretary’s office, as in most fraternal buildings.

The Forum also was home to the Improved Benevolent and Protective Order of Elks of the World (I.B.P.O.E. of W.). This is not the same as the B.P.O.E.  As Prince Hall Freemasonry, it was a fraternal order fueled by racial inequality.

Founded in 1898, the group is now considered the largest Black fraternal organization in the world. In 1906, Chicago Lodge No. 43 was incorporated by W. D. Langford, T. J. Wilson, and R. L. LaCasse (Chicago Tribune 22 Nov 1906, p. 13). I believe that the Lodge is now known as Great Elks Lodge No. 43 and have contacted the fraternity to confirm.

After a little preliminary research, here is what I uncovered about the three gentlemen listed in the 1906 announcement:

W. D. Langford, was listed as a physician listed in the 1907 Chicago Directory, practicing at 500, 39 State Street.

Ralph L. Lacasse (1861-1909) worked as a porter and usher. I was also able to find his will that listed his Prince Hall Masonic association (Garden City Lodge. No. 59) and membership with the Knights of Pythias (Hannibal Lodge). Here is a link to Prince Hall Freemasonry Archives with Garden City folders at the Chicago Public Library: https://www.chipublib.org/fa-prince-hall-freemasonry-archives/

Thomas Jefferson Wilson, Jr. (1877- 1963) worked as a porter for the Pullman company in 1900. That year he roomed with his first wife Anna B. at the Payton family home, 4731 Armour Avenue in 1900. He later worked as a clothing salesman, marrying his second wife Yolanda Charleston.

I remain uncertain as to when the I.B.P.O.E. of W. started meeting in the Forum, but I have located a newspaper article from 1944 that confirms they were situated in the building (Chicago Tribune 26 Aug 1944, p. 8). For more information about this fraternal organization, visit https://www.ibpoew.org/history If you do a little digging, there is a fascinating history out there.

In Summary

There are many historic scenery collections across the country that are important. Extant backdrops that are linked with significant people and events in American history. They connect performance venues to local, regional, and national histories, often allowing us to discover the people who created it, delivered it, manipulated it, performed in front of it, and saved it.

That being said, The Forum drop curtain is one of a kind; there is nothing else like it in North America. It should be used as a forum for discussing the past, present, and future.

Please spread the word that the Forum exists, that it has historic scenery, and that it needs financial support.

Again, here is a link The Forum’s website: https://www.theforumbronzeville.com/

To be continued…

.

Travels of a Scenic Artist and Scholar. Painting Workshop at CITT in Toronto, August 15-16, 2023

Copyright © 2023 by Wendy Waszut-Barrett

This post is long overdue. August, September, and October were a flurry of activity this year.  Subsequently, I am a little behind on several projects and events that I promised to share.

Jenny Knott, Wendy Waszut-Barrett, and Monique Corbeil.

Last August, I taught another scene painting workshop for the 2023 CITT/ICTS (Canadian Institute of Theatre Technology/Institut canadien des technologies scénographiques) Rendez-vous.

Before the pandemic, this was an annual master class taught with Jenny Knott, then paint product manager with Rosco. Our classes explored both contemporary and historic scene painting methodologies. Past workshops included: Drapery Painting (St. John, New Brunswick, Canada, 2017), Foliage Painting (Hamilton, Ontario, Canada, 2018), and Gold! (Whitehorse, Yukon, Canada, 2019). This year we tried something new.  Instead of contemporary and historical techniques, we decided to try 3D and 2D techniques.

Jenny demonstrated paint application techniques for three-dimensional surfaces, with Pulp Art supplying samples. I demonstrated paint techniques for two-dimensional surfaces, with Historic Stage Services supplying the fabric. Rosco provided the scene paint for the workshop.   

My portion of the class included a brief PowerPoint presentation entitled, “Seeing Color: Understanding Strategic Color Combinations.”  Most of scenic art has to do with not only paint application techniques, but a strategic combination of color that supports any lighting design. This is basic color theory for scenic art that works for both 2D and 3D surfaces.

Here is an abbreviated version of my CITT presentation. It summarizes my own scenic art process based on extant backdrops. All examples included in my presentation were created with distemper paint (a mixture of pigment paste and diluted hide glue).

I often begin many presentations with showing a basic color wheel with primary (yellow, red, blue) and complimentary colors (orange, purple, green).

Revisiting basic color theory before any scenic art class works in the long run. It places all of the students on an equal playing field. When you understand the basic steps for creating complementary colors, it is much easier to understand variables in creating neutrals. 

The metamorphic nature of scenic art is reliant upon neutrals, specifically neutral colors that are integrated into the base-painting. It is incredibly important to understand variations when combining complementary colors.

I repeatedly stress that successful scenic art is reliant upon not only a minimal color palette, but also the contrast of hue and value. Our choices as painters in the mixing and application of colors can help or hurt the lighting designer.

When selecting colors for a base coat, warm, cool, light and dark come into play. As you work up the details, careful placement of wars and cool colors will enhance depth.

The key to painted illusion for the stage is understanding your options. In other words, warm versus cool. Yellow is a good example to use when talking about individual color characteristics. It is much easier for many to see the difference.

We then discussed both understanding and adjusting the value of colors with whiting and Van Dyke Brown. High contrast is very important when painting compositions that are intended to be seen from a distance.

I then shared some historic scenic art examples. Identifying colors and application helps many students understand process.

In short, I try to select examples that are fairly easy to interpret. Adding color swatches, instead of using a laser pointer, has helped many students “see” the color. Here is another example. Identifying color combinations in historic scenic art to understand process.

I also share a contemporary scenic art example. One that I have recently painted for a production. Here is a painted detail from The Sorcerer (Gilbert & Sullivan Very Light Opera Company, March 2023).

I try to include as many examples as possible, varying the stylistic approaches as they shifted over the decades.

I try to show how this color theory can be applied to other subject matter too, such as metalwork.

This is where I often discuss the selection and interplay for both hue and value.

Both manmade and organic subjects can use the same painting methodology. Foliage is another good example to explore the placement of warm and cool colors.

This greatly helps the painting reflect stage light, allowing the painted composition to transition from a morning to evening scene.

Painting Process Samples

After the presentation, we applied this color theory to brickwork. I made a “process” sample. There are many artists (me included), who have a hard time internalizing process until they see the paint application broken down into colors and steps.

Each of my brick samples used a limited color palette, with specific color identifies on the left. The process was then broken down (right to left), with base coat and charcoal layout on the right and completed brickwork with spatter on left.  

Brick sample for workshop.

While doing the samples, I documented the use of tools and techniques. Here are the brushes that I used for detail work – highlight and shadow.

Shadow and highlight brushes.

Second brick sample with limited color palette. The mixing of colors was done on the canvas to make an interesting base. This technique is similar to distemper painting. Pre-mixed scenic paints can be arranged similarly on a palette for floor painting (Continental Method).

For more information about upcoming CITT/ICTS events visit: https://www.citt.org/

The next CITT/ICTS Rendez-vous is in Saskatoon, Aug. 14-17, 2024. See you there!

To be continued…

Travels of a Scenic Artist and Scholar: The Gilbert & Sullivan Very Light Opera Company’s “H.M.S. Pinafore” 2023.

Copyright © 2023 by Wendy Waszut-Barrett

On Monday, Oct. 2, 2023, I returned from Chicago with the set for La liberazione di Ruggiero dall’isola d’Alcina. Less than two weeks later, I loaded in the set of H. M. S. Pinafore for the Gilbert & Sullivan Very Light Opera Co. (Howard Conn Fine Arts Center in Minneapolis).  Although the show had been designed for months, it had yet to go into production. My husband, Dr. Andrew Barrett, took on the role of stage carpenter to help me out.

The show runs for one more weekend. Here is a link for tickets: https://gsvloc.org/home-2/tickets-2/

Tech week.

The Gilbert & Sullivan Very Light Opera Company production of HMS Pinafore.

The set in the Howard Conn Fine Arts Center space.

In fact, I was unable to start painting the show until Monday, Oct. 9. This meant I had less than five days to paint the the show, knowing that the structural pieces and flooring would be painted after load-in. As with other recent productions, I used distemper paint (pigment paste mixed with diluted hide glue) for all of the soft goods. This painting process facilitated the compressed timeline, as I spent less time mixing color, washing brushes, and cleaning buckets; the list goes on. Also, with painting on a vertical frame, and not the floor, everything dries faster.

Dry pigment paste is combined with diluted hide glue during the distemper painting process.

View from the aisle, house right. Gilbert & Sullivan Very Light Opera Company’s production of H.M.S. Pinafore, 11 November, 2023.

Painted details. behind the helm.

My painting schedule was as follows:

Monday, Oct. 9 – Load in all painting supplies to Hamline University, set up palettes, make glue, attach fabric to frame, and size.

Tuesday, Oct. 10 – Base paint ship pieces, draw out composition and finish.

Wednesday, Oct. 10 – Remove ship pieces from frame, attach cloud/water pieces and size.

Thursday, Oct. 11 – Paint cloud/water pieces and cannons.

Friday, Oct. 12 – Remove all painted pieces from frame and load out of Hamline University.

Saturday, Oct. 13 – Finish set construction.

Sunday, Oct. 14 – Load into space.

A partially-constructed set during load-in, Oct. 15, 2023.

Under work lights before the floor is painted.

Painting the floor during tech week. I ran tape to save time, and used the existing “black floor” as the crevices. This meant I was able to paint the floor all by myself in only an hour. The “key” to this process is to let the floor fully dry before pulling up the tape.

After painting the floor and railings.

Before the remaining ropes and seagulls are added for “character.”

My favorite seagull.

The final painted “bits” stage right- seagulls and belaying pins.

The final painted “bits” stage left- seagulls and belaying pins.

The speed at which I was able to paint also really relied upon the subject matter and my own skill set. I have always loved painting skies, water, wood, draperies, and foliage.  Getting to paint three out of your five favorites, isn’t bad.

It also helped that I was the scene designer. It gives me a little wiggle room.

On-site “touch-up” with distemper paint also means every color is instantaneously available without having to store of unpack a “touch-up kit.”

My “warm” distemper palette for on-site touch-up.

The new thing that I tried during the painting process this time was positioning the seascape compositions sideways.  Why? Because it fit better on the frame and made running the long horizon lines easier.

Painting water and sky scenes SIDEWAYS to fit on the paint frame at Hamline University. Notice how the distemper paint dries from dark to light.

Another view of the process.

Running the horizon line on a motorized paint frame without a lining stick

You do have to pay VERY close attention to what you are doing. However, I would choose this orientation again, as running the horizon line was substantially easier. No lining stick needed when you have a steady hand and motorized paint frame. This is also why painting vertical folds in draperies is also stream-lined on a motorized paint frame.

Waiting for canon flats and doors to dry.

Recycling portions of an existing stencil to save time.

Here are a few process shots from tech week and the final production. 

The set with pre-show lighting.

The scenery under cool lights.

How the colors can shift. Distemper paint reflects color so much better than contemporary (pre-mixed) scenic paints.

The show runs for one more weekend! There are some absolutely lovely voices in this production. It is a very fun show directed by Gary Briggle, with musical direction by Dr. Randall Buikema.

The added bonus this time is that our son is playing accordion in the pit orchestra!

The Gilbert & Sullivan Very Light Opera Company Orchestra under the baton of Dr. Randall Buikema.

To be continued…

Travels of a Scenic Artist and Scholar. Chicago, Illinois. Haymarket Opera Company’s “La liberazione di Ruggiero dall’isola d’Alcina”, Sept. 22-Oct. 2, 2023.

Copyright © 2023 by Wendy Waszut-Barrett

On Sept. 20, 2023, my plane touched down at the Minneapolis International Airport. I had just returned from a twelve-day trip in the UK, presenting a paper and touring historic theaters in England, Scotland and the Isle of Man. 48 hours later, I was packing a trailer of scenery for Haymarket Opera Company’s production of La liberazione di Ruggiero dall’isola d’Alcina. The show loaded in on Saturday, Sept. 23.

This was my fourth show with the same design team: Brian Schneider (Lighting), Stephanie Cluggish (Costumes) and Megan Pirtle (Wigs and Make-up). They are all remarkable individuals to work with!

Stephanie Cluggish (Costumer), Sarah Edgars (Director) and Brian Schnieder (Lighting Designer) with model. I handed off the La liberazione di Ruggiero dall’isola d’Alcina model during tech week for Marc’antonio e Cleopatra.

This spring we were tackling two shows in a compressed timeframe. Marc’antonio e Cleopatra, (June 2023) and La liberazione di Ruggiero dall’isola d’Alcina (Sept. 2024). The first opera was very straightforward; two static scenes in Egypt, consisting of painted panels and a few profile pieces.

Here is an article about the Marc’antonio e Cleopatra production in Lighting an Sound America by David Barbour (pages 20-24). Here is the link: https://edition.pagesuite-professional.co.uk/html5/reader/production/default.aspx?pubname=&edid=5eeb1f17-4f4f-4cb1-93d0-4d8c27a4a730

La liberazione di Ruggiero dall’isola d’Alcina is the only surviving opera by female composer, Francesca Caccini, dating back to 1625.  It included sea nymphs, entrances on dolphins and orca-bone boats, sea monsters, magical plants, and so forth. The plot posed a few challenges, as did the performance space. There is no fly tower or wing space at the Jarvis Opera Hall. From a logistical standpoint, there is not enough room to store large scenic elements anywhere off stage.

One of the ideas that I repeatedly tossed out at the beginning of the design process was creating a small-scale Baroque stage. This “stage-with-a-stage” meant that everything could be self-contained and easily accessible. In the end, my set consisted of a 16’x16’ platform, 8 step units, and a 28-ft. theatre façade, 8’-0” x8’-0” proscenium opening, and two doorways.

Set with jungle scene.

My small stage house had both upper and lower grooves for wings and shutters. The scenery consisted of a drop curtain (roll drop), scrim (roll drop), Jungle scene (roll drop), 2 jungle wings, ocean drop, 2 ocean wings, 3 water ground rows, 2 jungle shutters, 2 jungle wings, a dolphin profile, an orca boat profile.

Photograph by Elliot Mandel

Photograph by Elliot Mandel.

Painted detail from drop curtain.

Photograph by Elliot Mandel.

Painted detail from the jungle scene.

Painted detail from jungle scene.

Magical plants. Photograph by Elliot Mandel.

Ocean scene. Photograph by Elliot Mandel.

The Siren. Photograph by Elliot Mandel.

Water detail.

Photograph by Elliot Mandel.

Orca bones boat and dolphin on paint frame.

Sea monsters behind the scrim. Photograph by Elliot Mandel.

All of the scenic elements were painted simultaneously on a motorized paint frame. This meant that there were fewer staples and I was able to hop from one painted composition to another. This also helps unify all of the painted elements without having to repeatedly mix the same color as I would progress from one piece to the next.

The paint frame at Hamline University with my parents for scale.

The entire set was painted with distemper paint. In addition to setting up may standard palette, I built two new distemper palettes; one for warm colors and one for cool colors. It greatly helped for all of the foliage painting. Taking a 2’-0” x 2’-0” square of ¾” ply for the base, I covered it with canvas then painted it white. I drilled 2” holes around three sides of the palette to hold my containers of dry pigment paste. When not using a color, it remained capped. This meant that my pigments did not dry out and could easily change position.  Not having to scrape off the palette, or reconstitute the paste, saves time in the long run.

Small distemper palettes for details.

My larger mixing table.

Here is a link to the Marc’antonio e Cleopatra program: https://static1.squarespace.com/static/55b3b5d7e4b049454c0f51c9/t/648bb2dad48b0a6599189357/1686876895061/2023_Haymarket_HASSE_program_web_final.pdf

Here is a link to the La liberazione di Ruggiero dall’isola d’Alcina program: https://static1.squarespace.com/static/55b3b5d7e4b049454c0f51c9/t/650f0b72aecd2b6e8b35a256/1695484787494/2023_Haymarket_Caccini_program_web.pdf

To be continued…

Travels of a Scenic Artist and Scholar. Theatre Royal, Bath, Sept. 19, 2023.

Copyright © 2023 by Wendy Waszut-Barrett

After visiting the Theatre Royal, Bristol, Mike Hume, Rick Boychuk, and I headed to Bath. Hume had arranged a tour with Eugene Hibbert, general manager of operations. Here is link to the history of the theatre site and current building: https://www.theatreroyal.org.uk/about/history/

The Theatre Royal, Bath.

The Theatre Royal, Bath.

It was a load-in day for Noises Off, the same touring production that we saw in Newcastle-upon-Tyne. I was amazed that anyone would contemplate giving us a tour during final preparations for opening night. While waiting at the stage door, we watched a few cast members sign in.

The stage door at Theatre Royal, Bath.

Poster for “Noises Off” at the Theatre Royal, Bath.

Despite the flurry of activity throughout the building, Hibbert spent a considerable amount of time with us that day.

Here are a few photos from the theatre and our walk back to the train station:

A view from the stage.

The ornate ceiling.

Ceiling details.

Painted ornament on ceiling.

Proscenium detail.

A view from the gallery.

Wendy Waszut-Barrett, Rick Boychuk , and Mike Hume in the opera box.

This was my last theater visit on our trip to the UK. Although the day began as a dreary one, the sun finally peeked out as we walked back to the train station. I really wished that we were able to spend a little more time that day. Unfortunately, I had an early flight out of Heathrow the next morning. Late that afternoon we headed back to London where we parted ways after dinner. I could not have asked for better travel companions and am really looking forward to our next trip. We will all be at USITT this coming March.

The Pulteney Bridge over the Avon River in Bath, England.

Another view of the Pulteney Bridge over the Avon River in Bath, England.

To be continued…

Travels of a Scenic Artist and Scholar. The Bristol Old Vic – Theatre Royal, Bristol, Sept. 19, 2023.

Copyright © 2023 by Wendy Waszut-Barrett

Mike Hume, Rick Boychuk, and I flew from the Isle of Man to Bristol late in the day on Sept. 18, 2023. 

All on board for Bristol!

Taking off from the Isle of Man on Sept. 19, 2023.

Our descent into Bristol on Sept. 19, 2023.

The next morning we toured a restored Georgian Theatre known as the “Bristol Old Vic,” officially considered Theatre Royal, Bristol. 

Hume had arranged our visit with Imogen Senter and David Harraway.  It was such a treat to see the United Kingdoms’ oldest continuously operating theatre, having first opened its doors in 1766.

The original 1766 theatre wall is now an interior wall, sharing space with a coffee shop and offices.

Facing the other way.

Mike Hume in action. He has a wonderful write-up about this building.

Here is a link to Hume’s wonderful webpage about the history of the building: https://www.historictheatrephotos.com/Theatre/Bristol-Old-Vic.aspx

Here are a few more pictures from our tour:

A view of the proscenium and safety curtain.

Standing room.

The ceiling.

Decorative ornament along the railing.

Ornamental details.

Ornamental details.

More details.

Ornamental details.

Column detail.

A view from house left.

Graffiti near the stage right entrance.

More ancient graffiti.

Rick Boychuk in his happy place.

A view form the fly rail.

View of the thunder run from a platform constructed for public tours…this is SO wonderful!

Part of the viewing platform.

Another view.

The thunder run image from the interpretive display at the theatre.

Wind machine from the interpretive display at the theatre.

For more information about the artifacts, stage machinery, and history, visit: https://bristololdvic.org.uk/archive

To be continued…

Tales of a Scenic Artist and Scholar. W. T. Hemsley (1850-1918), Scenic Artist

Copyright © 2023 by Wendy Waszut-Barrett

Over the years I have repeatedly encountered the name of scenic artist W. T. Hemsley. Hemsley’s paint studio was even featured in an 1899 article by Frederick Dohlman.

W. T. Hemsley’s paint studio featured Dohlman’s article for Cassell’s Magazine, 1899.

Published in Cassell’s Magazine, it was entitled “Scene-Painters and Their Art.” There is one illustration captioned “Grinding the Colours” that I frequently use when discussing the distemper paint.

Grinding the colours in Cassell’s Magazine, 1899.

My previous post examined Hemsley’s act-drop for the Gaiety Theatre in Douglas on the Isle of Man. Here is the link: https://drypigment.net/2023/11/02/travels-of-a-scenic-artist-and-scholar-the-gaiety-theatre-act-drop-by-william-t-hemsley/

Detail of act-drop curtain by W. T. Hemsley for the Gaiety Theartre.

As promised, this post is about William Thompson Henry (1850-1918). Hemsley was a scenic artist who thoroughly understood painted illusion, stage machinery, and lighting systems. In fact, he specialized in the design and manufacture of transformation scenes; impressive scenic spectacles for the stage that highlighted the metamorphic nature of scenic art at this time.

This post is quite lengthy, so grab a cup of coffee and settle into your chair.

W. T. Hemsley ‘s portrait in Cassell’s Magazine, 1899.

Over the years, various publications have briefly summarized Hemsley’s life and career. Much of the information is based on his 1918 obituary. While transcribing the several newspaper obituaries when researching his career, one in particular caught my eye. It mentioned his personality and character. I am going to start with how his contemporaries remembered Hemsley in 1918. On Feb 9, London’s Daily Telegraph announced the death of W. T. Hemsley:

“A more simple-hearted or more genial man than Mr. W. T. Hemsley, whose death we regret to announce, never existed. In an emergency, he was always to be counted upon, never considering the trouble to which he might put himself in order to assist a friend or even casual client. He might fittingly have sat to Dickens as a model of cheery optimism. Born in 1850 at Newcastle-on-Tyne, he started life as an engineer, but canvas, paint, and brush were evidently far more to his taste than machinery, and before many years were over, he had taken the plunge and began a new career in London as a scenic artist. There is hardly a West-end theatre which, since then, he has not furnished with convincing proof of his talent as a painter. With him the readiness was all, and the celebrity with which he would provide a humble interior, a palatial edifice, or a garden set was quite remarkable. He knew, as he was known by, everybody, and his fund of good stories and interesting reminiscences was practically inexhaustible. He will be missed by his many friends and acquaintances.”

It is apparent that Hemsley left a legacy that went beyond any painting. He was well-respected and loved by both colleagues and clients.  We can only hope to be lovingly remembered by friends and family.

Hemsley is a scenic artist that I have added to my “wish list.” I wish that I could have watched him paint. I wish that we could have chatted about color. I wish that we could have watched a sunset…and then I think of my maternal grandmother’s saying, “If wishes were horses, we all would ride.”

William Thompson Hemsley was born in Gateshead, across the Tyne River from Newcastle-Upon-Tyne. He was the son of George Hemsley (1822-1888) and Mary Watson (1825-1899). Hemsley’s mother, Mary, was the daughter Thomas Watson and Margaret Linch; his maternal grandfather was a shoemaker in Newcastle-upon-Tyne. W. T. Hemsley’s own father, George, was an engine fitter, the son of William Hemsley and Anne Thompson. William Hemsley, his paternal grandfather, worked as a groom.

William Thompson Hemsley was the second of eight children born to George and Mary. The 1851 Census listed the Hemsley household as including George (29 yrs.), Mary (26 yrs.), Mary Ann (2 yrs.) and William (10 months). In Gateshead, the family celebrated the birth of two more children: Thomas W. (b. 1852) and Margaret “Mary” (b. 1854). Sometime after the birth of Mary, the Hemsley family moved to Swindon in Wiltshire County. For geographical context, Swindon is approximately 290 miles to the south, 84 miles west of London. 

Location of Swindon in relation to London.

In 1858, the Hemsley’s fifth child, John Robert, was born in Swindon. Another son, James G., arrived in 1860.

The 1861 census listed the Hemsley family living at 6 Westcott Place, Swindon. The household included the following members: George (39 yrs.), Mary (36 yrs.), Margaret (12 yrs.), William T. (10 yrs.), Thomas W. (9 yrs.), Mary (7 yrs.), John (3 yrs.) and James (1 yr.). There was also a lodger, Josiah Kay, living in the Hemsley Home. Both Josiah and George were employed as “engine fitters”.

William was still living with his parents when the 1871 Census was taken. He was listed as a “fitter,” with his father George listed as a “fitter and turner.”

Hemsley’s artistic endeavors in Swindon were remembered in his obituary. At 16 yrs. old, Hemsley obtained a teacher’s certificate and the Society of Arts’ first-class certificate. He also became acquainted with the later Rev. J. M. Bellew, father of Mr. Kyrle Bellew, and by him was introduced to Mr. Augustus Harris, sen., at Covent Garden Theatre, and to Mr. J. O’Connor of the Haymarket Theatre, obtaining through the letter of engagement with the late Mr. Beverly at Drury Lane. This was William Roxby Beverly (c. 1810-1899) who was appointed scenic director at Covent Garden Opera House, in succession to Thomas Grieve, in 1853. Beverly’s association with Drury Lane commenced the following year.

Act-drop by W. R. Beverley for the Shakespeare Memorial Theatre in 1879. Here is a link to the image and story by Sylvia Morris: https://theshakespeareblog.com/2017/03/william-roxby-beverley-stratfords-forgotten-theatre-artist/

Hemsley’s association with Beverly continued and resulted in his acquisition of several Beverly artworks. In fact, Hemsley’s Beverly collection was even part of the 1905 Scenic Artists’ Association exhibition at Grafton Galleries. An article in The Times reported, “Mr. W. T. Hemsley sent a very interesting collection of the works by W. R. Beverly” (p. 4).

Hemsley’s obituary also remembered, “While Mr. Hemsley was studying at the Lambeth School of Art, Mr. Tom Taylor, the celebrated dramatist, frequently selected for him subjects and criticized his sketches, and notably highly commended his composition of The Lady of the Lake.” Established in 1854, by the late 1850s, the institute functioned as a night school. It gained a reputation for training may important sculptors.  Here is a link for more information: https://vauxhallhistory.org/lambeth-school-of-art/

In 1873 Hemsley was working as a practical engineer in London, living at 25 Stafford Pl., Pimlico, S. When he married Fanny Harriet Castle May, Hemsley listed his profession as “practical engineer”, the same as his father, George Hemsley. On June 25, 1873, they were married at the Parish Church, Margate West, Middlesex County. Interestingly, Fanny’s father, George Harding May, was listed as an “artist.”

Photograph of George May sketching in 1855. Image from ancestry.com

This may have been the turning point in Hemsley’s career as he transitioned from a practical engineer to scenic artist. Witnesses to the marriage were Fanny’s sister, Blanche, and James Birkett.

Photograph of Silver Wedding Anniversary for the Hemsleys. Image from ancestry.com

When William Hemsley transitioned from practical engineer to scenic artist, he began using his middle initial “T.”  This was to distinguish him from the well-known London genre painter, William Hemsley (1819-1906). Unfortunately, going by W. T. Hemsley also causes some confusion, as that is the stage name of William Thomas Witty (1854-1952). Witty, a.k.a. W. T. Hemsley, performed with D’Oyly Carte touring companies between 1880 and 1885.

William Thompson Hemsley’s obituary remembered, “In 1874 Mr. Hemsley returned to Swindon, and there his artistic ability was recognized by Charles Mathews, who gave him and introduction to Miss Sarah Thorne at Worcester, and for some years he remained under her management at Margate as resident scenic artist” (North Mail, Newcastle Daily Chronicle, 9 Feb 1819, p. 5).

Map showing the location of Swindon and Worcester.

The “Charles Mathews” who made the introduction was Charles James Mathews (1803-1878). In 1876, both Thorne and Mathews were performing at the Theatre Royal Worcester At the time, Thorne was credited as lessee of the Theatre Royal Worcester. On Dec. 9, 1876, Berrow’s Worcester Journal announced the two-night engagement of the eminent comedian Mr. Charles Mathews in “My Awful Dad” and “Cool as a Cucumber” (p. 5). Mathews likely introduced Hemsley to Thorne sometime between 1876 and 1877. The two toured together until Mathews passing in 1878.  

Sarah Thorne

Charles Mathews portrait by Rembrandt Peale.

On Feb 17, 1877, the Isle of Thanet Gazette included an advertisement announcing “Theatre Royal, Margate. One night only, March 2, 1877. Miss Sarah Thorne has the honour to announce the engagement of the famous comedian, Mr. Charles Mathews, who will appear as ‘Adonis Evergreen.’ In ‘My Awful Dad”…supported by Miss Sarah Thorne and her Company” (p. 1).

On June 23, 1877, Berrow’s Worchester Journal announced that Miss Sarah Thorne, lessee of the Theatre Royal Worcester “has the honour to announce the engagement of the famous Comedian Mr. Charles Mathews, who will appear as Adonis Evergreen in his own comedy, “My Awful Dad,’ played by him upwards of 200 nights as the Gaiety Theatre, London” (page 5).

Thorne has been associated with the Theatre Royal in Worcester since 1874. Thorne’s engagement in Worcester was early in the year. On Feb. 7, 1874, the following advertisement was placed in Berrow’s Worcester Journal:

“Theatre Royal, Worcester. Miss Sarah Thorne’s Dramatic and Burlesque Company will re-appear here on Monday, Feb. 16th in the Historical Drama, “A Sheep in Wolf’s Clothing,” and the comic pantomime, “The Children in the Wood,” new scenery, dresses and effects” (p. 5). Thorne was again mentioned in Berrow’s Worcester Journal; on Feb. 28, 1874, p. 5. The advertisement was titled, “Theatre Royal, Worcester. Masonic Patronage.”  The article reported, “The Last Night, and Benefit of Miss Thorne, under the distinguished Patronage of the Worshipful Master and Wardens of the Worcester Lodge, 280; the Worshipful Master and Wardens of Semper Fidelis, 529, with Brethren of these Lodges. Mr. George Thorne, Principal Comedian of the Theatre Royal, Leeds, will appear (by permission of John Coleman, Esq.), in his successful Burlesque, LE RAW CAROTTE, introducing his original songs and dances. The St. James Drama LADY AUDLEY’S SECRET, In which Miss Sarah Thorne will sustain her successful character of Lady Audley, played by her for fifty nights at the Theatre Royal, Brighton.”

We are certain that Hemsley was not in attendance at the Feb 28 performance, as he did not become a Mason until 1882. Hemsley joined Union Lodge in Margate; initiated March 3, passed April 7, and raised May 5.

To place Hemsley’s meeting with Thorne in a chronological timeline…

Hensley marries Fanny in Margate on June 25, 1873. At the time, the two listed their residence as 25 Stafford Pl., Pimlico S. in London. Early in 1874, the Hemsleys returns to Swindon after the birth of their first child, William G. Hemsley in Battersea, Surry. It was in Swindon where Hemsley receives an introduction to Sarah Thorne. This could have been anytime between 1874 and 1878, when Mathews passed. During the spring of 1878, Thorne and Mathews were touring and featuring Mathews in “My Awful Dad” and “A Game of Speculation” (The Surrey Advertiser, County Times 20 April 1878, p. 4). Thorne placed a notice in The Era after Mathews passing that summer. On June 9, 1878, The Era published,

“Miss Sarah Thorne’s Company.

NOTICE. – In consequence of the indisposition of Mr. Charles Mathews he cannot possibly fulfil the Engagements made by Miss Sarah Thorne for his appearance.  Miss Sarah Thorne, assisted by Mr. George Thornes and the following members of her Company, will appear in several high-class comedies” (p. 14).

The earliest their first meeting could have occurred was early February 1874. This was while Thorne was performing at Worcester. For geographical context, Worcester is approximately 58 miles northeast of Swindon. This places the Hemsley-Thorne meeting all within the realm of possibility. They also could have also met in 1876 when Thorne assumed management of the Theatre Royal, Worcester.

It is obvious that his early training with Beverly and later work for Miss Sarah Thorne changed the course of Hemsley’s career. He was in the right place at the right time.

1874 was a turning point for Sarah Wendy Thorne (1836-1899). She succeeded her father as theatre manager of Theatre Royal, Margate, remaining in that role until Aug. 1873 when the theatre was sold to Robert Fort. Although Thorne remained in a management role for the 1874 season, she soon shifted her focus to the Theatre Royal, Worcester by the spring of 1876. When the Theatre Royal was destroyed by fire in 1877, Thorne formed a touring company with Charles James Mathews. Again, it was Mathews who first introduced Hemsley to Thorne. And the fates were not with Thorne, as Charles James Mathews passed away by the summer of 1878.

This period was also one of transition for the Hemsley’s as their family expanded, welcoming George Robert Hemsley in 1876 and Harry May Hemsley in 1877.

By 1878, Thorne and Hemsley are both associated with the Robinson Crusoe pantomime performed by her Company at the Swindon Mechanic’s Institute. On Feb. 3, 1878, The Era reported, “The scenery was by Messrs. R. Douglas (of the National Standard Theatre – a sufficient guarantee of its excellence) and Mr. W. T. Hemsley, of this town, and we really must congratulate Mr. Hemsley on his great success” (p. 9). This was possibly, Hemsley’s first scenic art project.

Hemsley continued to work for Thorne, employed as not only a painter, but also designer.  On Dec. 28, 1878, the Folkstone Express, Sandgate, Shorncliffe and Hythe Adviser reviewed Miss Thorne’s Pantomime – “Puss and Boots”, reporting, “It embraces twelve different scenes, the transformation scene having been specially designed and painted by Mr. W. T. Hemsley” (p. 5).

At the beginning of 1879, “Hemsley, of Swindon” was credited as the scenic artist for Thorne’s King Pumpkin pantomime at Margate and Ramsgate theatres. On Jan. 11, 1879, Isle of Thanet Gazette reported, “The first transformation scene ‘Fairy Seasons’ was designed and painted by Mr. T. W. Hemsley, of Swindon, and equally attractive is the closing scene ‘Blissful Bowers of Repose’ which closes the performance” (p. 6).

1879 is significant in a few other ways that affect Hemsley:

Thorne resumes a lease at the Theatre Royal Margate.

The Hemsleys celebrate the birth of Bertie Thomas Hemsley.

Hemsley is credited as scenic artist for Sarah Thorne’s productions of Robinson Crusoe and Billy Taylor when they toured Theatre Royal, Cheltenham (The Era 5 Jan 1879 p 5). His scenic art is also mentioned in Thorne’s Yellow Dwarf pantomime at the Theatre Royal, York. On April 20, 1879, The Era reports, “The most admirable sets are a Dizzy Pass and the Enchanted Groves (W. T. Hemsley)”. Other scenic artists working with Hemsley on the production were Henry Emden and Charles Smithers (The Era 27 April 1879, p. 18).

While The Yellow Dwarf played in York, Hensley also worked as a lightning artist. I have written about lightning artists in the past. Lightning artists are rapid caricaturists. In York, Hemsley was programmed into each evening’s entertainment. On May 7, 1879, The York Herald reported, “Enthusiastic reception of the rapid caricaturist, Mr. W. T. Hemsley, in his celebrated Sketches every evening, commence at 7.30” (p. 1).

For the next few years, Hemsley continued to both paint scenery and perform as a lightning artist with Sarah Thorne’s company.  1879 productions included The Lady of Lyons, Orange Girl, Washington Watts and The Shaughram, to name a few. Hemsley’s name repeatedly made news for his painted settings, transformation scenes, mechanical effects, and rapid character sketches. By the fall, Hemsley was making a name for himself everywhere. On Nov. 9, 1879, The Era listed him as “Resident scenic artist Mr. W. T. Hemsley” for the Royal Princess’s Theatre, Glasgow. At the end of that same month, his act-drop for the Theatre Royal, York, also made the news. On Nov. 28, 1879, The Era announced, “A feature of this evening was the lowering of the new act-drop, from the brush of Mr. W. T. Hemsley. In the centre of the cloth is a medallion containing a beautiful landscape; on top is a portrait of Shakespeare and on either side, in smaller medallions, are his birthplace and burial place, the whole being surmounted by the arms of the city.”

By the beginning of 1880, Hemsley was credited with the scenery for another Thorne Pantomime, Jack and the Beanstalk. Of Hemsley’s work, the Surrey Advertiser and County Times reported, “The scenery is beautifully painted…Mr. W. T. Hemsley, the artist, who painted the scenery has a wonderful power of sketching portraits in crayon, winning for him cheers from the admirers of the national celebrities that he, almost in the twinkling of an eye, vividly brings before the audience” (31 Jan 1879, p.5). That same day, “The Surrey Advertiser and County Express added: “W. T. Hemsley, an artist who received the warm acknowledgements of spectators for the rapid, but faithful portraits which he drew of famous men of the day, including Earl Beaconsfield, John Bright, Cetewayo, and some of the heroes of Isandula” (p. 5). He was still in Surrey the next month making news as a caricaturist. On Feb. 14, 1880, The Surrey Mirror and County explained that Hemsley made sketches as an entr’acte performance, part of the ballet interlude. The article reported, “Mr. W. T. Hemsley, displays his genius as a rapid caricaturist by sketching famous men of the day and local celebrities – ‘the local celebrity’ on Tuesday evening was Mr. Wm. Beale, the postmaster. The ballet interlude over, the story resumes at the gates of the Giant’s Copper Castle.”

By the summer of 1880 Hemsley began to place advertisements in The Era for his services, although he was still listing a primary residence in Margate.  On Aug. 22, 1880, his advertisement read: “Mr. W. T. Hemsley, scenic artist and caricaturist, offers invited for Christmas. Specially engaged to paint scenery for ‘The Eviction,” at Olympic Theatre. Address 2 Alma-place, Margate; or Mr. T. Grahame, 20 King-street, Covent-garden” (p. 15). The second address that Hemsley listed was the same as for Grahame’s Anglo-American Dramatic, Musical and General Agency. At 20, King-Street, Covent-Garden. Grahame was part of Hemsley’s network, likely introduced by Charles Mathews. In 1873, Grahame’s advertisements listed:

“Stage-manager, Prompter, or Actor. Mr. T. Grahame, formerly of Boston, U.S.A., Disengaged 17th December, Refers to Charles Mathews and A. W. Young, of England; or Charles Fechter and E. L. Davenport, or America. Address, 479 Kingsland-road, E. Agents, English and Blackmore” (The Era, 7 Dec 1873, p. 16).

The 1881 Census listed the Hemsley family living in Margate. The household including William T. (30 yrs.), Fanny (26 yrs.), William G. (6 yrs.), George R. (4 yrs.) and Harry M (3 yrs.). Another son, Arthur Phillips Hemsley arrived in 1882.

In 1883, Hemsley stretched his wings, painting scenery for a new entertainment – Walter Stanton’s “Human Farmyard.” The spectacle was staged at the Aquarium, Brighton; Royal Aquarium, Westminster; Marina Hall, Ramsgate; St. James Hall, Plymouth; Pavilion, Hastings; and elsewhere. By 1889, Barnum & Bailey had created their own “Walter Stanton” attraction, promising human imitations “in the most natural manner the curious cries of birds, squealing of pigs and calls of domestic animals with life-like exactness, the appearance, action and strut of crows, ducks, geese and other familiar bords.”

Barnum and Bailey’s imitation of Walter Stanton’s Human Farmyard, 1889.

During this time, Hemsley continued to work with Sarah Thorne. However, he also became associated with Sadler’s Wells Theatre and the Grand Theatre (Islington). In 1884, Hemsley made the news for his scenic art for Andrew Halliday’s revival of Notre Dame at Sadler’s Wells Theatre.  On Dec. 29, 1883, The Era reported, “The noble porch, the flying buttresses, the massive tower, were all portrayed with a fidelity to the original that it would be difficult to surpass, and to Mr. W. T. Hemsley, the admirable scenic artist of the establishment, must be given high praise for his clever work” (page 4). Hemsley was still listed as the Sadler’s Wells scenic artist that summer when he testified in a court case between Arthur Blackmore, theatrical agent of 11, Garrick-street, Covent-garden, and Miss Rose de Vane’s Shakespeare Co.  The dispute involved the purchase of glue for painting, as it was “necessary for the scenery [Hemsley] was to prepare” (The Era, 28 June 1884, p. 11). A dispute over hide glue needed for the distemper painting process. That fall, Hemsley also provided scenery for Folle Farine at Sadler’s Wells Theatre (The Era, 18 Oct 1884).

By the winter of 1884, Hemsley received rave reviews for his work on Puss and Boots at the Grand Theatre. On Dec. 28, Lloyd’s Weekly Newspaper reported, “Mr. W. T. Hemsley has painted some magnificent scenery, his Ballet Scene and Transformation Scene being especially beautiful.” Hemsley was listed as the scenic artist of the establishment when he painted a new act-drop for the Grand the next year. On Feb 21, 1885, The Era described Hemsley’s’ new act-drop:

“…commemorative of Shakespeare, whose figure is prominent on the prompt side of the curtain. It is entitled ‘Come unto these yellow sands and illustrate,” and illustrates the well-known song of Ariel in the first act of The Tempest. The subject has been treated in similar fashion, whose seashore is a strip of smooth sand. Mr. Hemsley’s beach is too pebbly to suggest a tripping place for fairy feet; but the subject is treated boldly. The background is rocky headland, and the figure of Ferdinand in, in listening attitude, affords a striking contrast to the airy spirits hovering overhead” (p. 14).

Another of Hemsley’s projects for the Grand Theatre was A Dangerous Game, receiving a favorable review in The Era on April 15, 1885: “At this point we should state that the charming country landscape painted by Mr. W. T. Hemsley is one of the prettiest we have seen, and is likely to enhance his reputation as a scenic artist.”

Hensley again worked for Sarah Thorne in 1886, credited with the new scenery for her 17th annual pantomime Sinbad the Sailor (Croydon Advertiser, 30 Jan 1886, p. 4). Beginning in 1886, Hemsley also began painting scenery for the Cambridge University Greek Plays.

By July 1887, Hemsley placed several advertisements in The Era:

“WANTED, Theatrical managers and others to know that W. T. Hemsley, Scenic Artist, has taken over the entire business recently carried on by Holt and Wilmot, manufacturers of Scenery and Stage Appliances, 57, Belvedere-road, London, S. E., ‘and hopes for a continuance of favours.” &c. A quantity of profile always in stock.”

In 1888 Hemsley painted scenery for the touring pantomimes by both Sarah Thorne and Henry Dundas. Thorne hired Hemsley to new paint scenery for the pantomime, Tom Thumb the Piper’s Son.  For Dundas’s productions, Hemsley worked closely with F. W. Robson on Jack-in-the-Box and Mr. Barnes of New York. On Aug. 11, 1888, The Era described Dundas’s Jack-in-the-Box pantomime at Chester, noting, “New scenery and mechanical effects have been supplied by Messrs. W. F. Robson and W. T. Hemsley, who have also done their work well.” Of Dundas’s Mr. Barnes of New York, on May 5, 1888, The Era reported, “This version will embrace the Entire Railway Incidents for which a Special and most Elaborate Mechanical Scene has been constructed by W. T. Hemsley at a cost of over 50 pounds. This scene will be the sensation wherever seen. All new Chromo Litho Pictorials. Initial production, Princess’s Glasgow. Few open dates.”

Other productions attributed to Hemsley at this time include A Life’s Debt, Bootless Baby, Aladdin, Little Bo-Peep, Miss Bella Pateman’s Master and Man, and Dundas’s Human Nature. Of Dundas’s tour, The Era advertised, “Every Scene will be carried, and entirely new. Painted from Original Sketches by the well-known London Artist, W. T. Hemsley” (28 Dec. 1889, p. 3). He both designed and painted the settings.

Hemsley continued to work for Dundas in 1889. On May 25, The Era announced that Henry Dundas was “lessee, resident and responsible for the Royal County Theatre, Reading.” The announcement added, “Scenery for each production will be painted by Mr. W. T. Hemsley.”

That summer Hemsley’s son, Harry, was injured in Swindon while playing with his siblings. It just goes to show how fragile life can be. On Aug. 24, 1889, The Era reported, “Harry May Hemsley, son of W. T. Hemsley, a scenic artist, Grand Theatre, while on visit to Swindon met with an accident last Wednesday, the 14th inst., while playing in the sand cliffs at the top of Clifton-street. It appears that about eleven o’clock the boy, with his younger brother and his sister, was engaged digging a hole in the side of the cliff near a large cavity. The younger boy went to the top of the cliff, and while he was absent the upper portion of the cliff gave way, completely burying his brother below. The lad was speedily unearthed and taken home, where he was found to have sustained a severe scalp would. He is progressing favourably under the treatment of Mr. G. M. Swinhoe.”

Hemsley himself was also not immune from danger. On Jan. 18, 1890, The Era reported on an illness affecting the employees at the Globe Theatre during a revival of The Taming of the Shrew: “Mr. Hemsley, the scenic artist, and nearly all his staff are down with the prevailing epidemic.”

The 1891 Census listed the Hemsley family living in Battersea. The household now included six children: George, Harry, Arthur, Ivy and Grace. Hemsley was listed as both a sculptor and artist. Interestingly, he lived next to John W. Ayers, also a caricature artist and sculptor. That year, Hemsley’s name was included in a fascinating advertisement entitled, “Arcadia, Arcadia, Arcadia.” This ad, published in The Era on July 25, promised “Brilliant Illuminations and Decorations by J. Pain and Sons. Splendid Floral display by Wills and Segar. Grand Scenic Effects. Rocks, Grottos, Waterfalls, &c., by W. T. Hemsley. Opens TO-DAY (Saturday), July 25 – admission six pence.” Hemsley was involved with this same project the next summer. On July 23, 1892, The Era included the following advertisement. “Arcadia, Arcadia, Arcadia. – “Superb Illuminations and Decorations by J. Pain and Sons. Thousands of coloured lights. Magnificent Floral display by Wills and Segar. The gigantic Fairy Fountain, with scintillating prismatic lights. Grand and Novel Scenic Effects by W. T. Hemsley. All-star artistes. Military bands, Switchback Railway. Al Fresco Lager Beer Garden, and numerous other attractions. Every Evening at 6. Wednesday and Saturday at 2 and 6. Admission 6 pence. Opens TO-DAY (Saturday), July 25 – admission six pence.” (p. 12).

Work was pouring in for Hemsley and included a touring show of Dick Whittington for Geoffrey Thorne. On Jan. 2, 1892, The Era reported, “The scenery is the work of Mr. W. T. Hemsley, and it is most attractive, the scene Highgate Hill, perhaps, being the most striking and effective in the series. The transformation scene, Home of Fleeting Fancies, is a brilliant work, and merits the unstinted applause bestowed upon it” (page 20).

Other projects that spring were Fred Cooke’s tour of Icebound. Hemsley painted the elaborate stage spectacle with Alf Terraine. The production received rave reviews. On June 17,1893 The Surrey Mirror and County Post advertised, “the company travels with a complete set of novel and original scenery, specially painted for this tour by Messrs. W. T. Hemsley and Alf Terraine” (page 4).

An abundance of opportunities prompted Hemsley to set up a studio at 2 Felix St., Westminster Bridge Road in London. He knew the value of publicity, planning a big event and advertising in The Era. On March 12, 1892, The Era announced, “Mr. W. T. Hemsley, the well-known scenic artist, opened his new painting rooms in Felix-street, Westminster-bridge-road, on Friday, 4th inst., with a most enjoyable ball. The painting-room proper, which is fitted with the latest modern improvements, is of such proportions as to enable the artists to paint a 50ft. cloth and set a complete scene before its leaving the studio, the carpenter’s department and storage warehouse being built in like proportion” (p. 10).

On June 4, 1892, Hemsley advertised in The Era again, announcing “Mr. W. T. Hemsley, scenic artist has removed to his new painting rooms and scene Manufactory (the largest and best appointed in London), 2 Felix-st, Westminster-bridge-road, S.E. Large or Small Contracts arranged upon for the most reasonable terms consistent with the best Artistic work” (p. 2).

Hemsley also painted with Walter Hann (1858-1899) and Joseph Harker in 1893; the three delivering scenery for Herbert Beerbohm Tree’s The Tempter at His Majesty’s Theatre, Haymarket, London.

In 1894 Hemsley painted scenery for The Last Shot at the Tivoli. On Feb 24, 1894, The Era reported,“Mr. W. T. Hemsley is responsible for the pictorial effects which include a bush scene, a vision of Major Wilson’s force, and the artistic tableau ‘The Last Shot,’ a really clever piece of work, which does credit alike to the liberality of the management and the imagination of the scenic artist” (p. 16). The next month, Hemsley painted scenery for A Comedy of Sighs and The Land is Heart’s Desire at the Avenue Theatre. On March 31, 1894, The Era reported, “The scenery for both pieces was painted by W. T. Hemsley, whose interior of the drawing room of Southwood Manor was very handsome, the fashionable furniture and appointments being well supplied by Hampton and Sons” (p 9). Hemsley was also responsible for the Queen of the Seas pantomime at the Tivoli. On Dec. 27, The Standard reported, “The scenic artist has introduced into the panoramic procession of the motely fleet some rather striking spectacular effects, and what with the support of sailors on deck, who take part in the chorus, and of the orchestra in front, the entertainment is altogether a thoroughly impressive and enjoyable one. The sketch is by Mr. Hugh Moss, the scenery by Mr. W. T. Hemsley.”

Other 1894 productions included a touring production of Pleasure (copied from the original Drury-land production), No Man’s Land at the Pavilion, and Mackinder and Wingfield Company’s The Water Babies.

William, Fanny and George Hemsley. Image from ancestry.com.

George Hemsley followed in his father’s footsteps. Both were mentioned in the renovation of Whitable’s Assembly Rooms in 1895. On Sept. 21, 1895, the Whitable Times reported, “The hall is being entirely repainted and decorated, but in addition to this a permanent proscenium is being constructed and will be furnished with an act drop and several scenes, painted by Mr. George Hemsley, under the direction of the well-known scenic artist, Mr. W. T. Hemsley. The platform is extended six feet and the prompt side three feet in front, so that the proscenium will be 18 feet wide, the whole forming a good workable stage. The drop scene is a very handsome and realistic representation of a view of Neapolis.”

In addition to working with his son, Hemsley was also working with T. Ryan; the two were painting scenery for The Forty Thieves. Other elaborate spectacles painted by Hemsley that year was Napoleon, Belinda, and Robin Hood. The two frequently worked alongside T. E. Ryan and W. P. Warren,

For fifteen years, Hemsley painted massive backdrops for the military tournament and horse show in London. There is a wonderful article about his project in 1896 that was published in The Westminster Budget (May 22, 1896, p. 11).

Illustration that accompanied the article.

Here is the article, “Under Fire at Islington. Making Ready the Scene of Battle,” in its entirety.

“Tommy Atkin’s high jinks begin on Thursday next, the 28th instant, as Islington. The carpenters have been going at it hammer and nails for the past ten days, and by the aid of stays and planks turning the iron girders and boarded floors of the Agricultural Hall into a Roman Amphitheatre. But it is not all. The lads-in0red want their proscenium as well. So that they may, as usual, make a feature of their little game of war. The subject burning in our heart, we looked in the hall and discovered Mr. W. T., Hemsley building up the foot of the Jung-frau of the Hindu Kush. It is astonishing what marvels a stay of deal, a bit of dingy canvas, a bucket of size paint, and a whitewash brush can accomplish.

“So you are once more in the hum of it, Mr. Hemsley?” was the remark of a representative of the Westminster Budget, as he shook hands with the well-known designer and painter of scenic effects.

“Ah! If you like – metaphorically I am up to me ears in paint. We have not let the dust grow under our feet. It is a king of rule with most people. ‘This or that is what we want,’ and it must be done often in what seems an impossibly short period. It is just the same whether we are building up a whole street, a cathedral, man-of-war, a palace, or a prison – for it is the scenic artist’s province to provide all these things. Comparatively we have two minutes to conceive our subject, five minutes to plan it, and ten minutes to make or build up a model. But we have a little longer this year to get into order.” And as we talked the artist kept stirring a bucket of cobalt blue, into which his assistant, wrapped in a smock of new brown holland, would throw a pinch of vermillion or a dab of brown madder.

“Mixing up the atmosphere,” Mr. Hemsley remarked, with a twinkle, “and it is not grey enough yet. Just another spoonful of vermillion. That’ll do; now try the effect. We get the atmosphere. If air is not there, we must paint it, or to use a big word, chiaroscuro the situation. You may smile – now – do not say it can’t be done. It is a sine quâ non of our profession to put a butt into a drop. Look, think a minute,” remarks Mr. Hemsley, and points with his maulstick to the end of the hall. “On that drop which serves as the background to our battlefield this year – the span is 130 feet across – I have to squeeze in a snow mountain 10,000 feet or so high, suggest its numerous peaks, its million and one precipices, ravines, and gentle slopes as well as give an idea of its immense next-door neighbors. And it is not only the mountains that have to be portrayed, but a military hill fort as well, with its wall and its towers and its rocky approaches. Yes, a scene painter has to view the world through a diminishing glass. The fort Ali Musjid, to hold the pass, would be some distance up the elbow of the mountain. The authorities give me 30ft. ‘Within the bee’s-knee compass,’ say they, ‘suggest the clamber up a mountain road under a hot and retreating fire; show how a military bridge is thrown over a nasty ravine; a mountain battery put in an out and brought into action again; give a playground for from 15 that I have constructed the scene for Tommy’s last tussle.0 to 200 men. And although you may not have a dozen square inches to a man,’ the masters of the situation say, ‘Don’t, Mr. Hemsley, pack the men in like pickles in a bottle; we can’t afford to let any one Jim Crow be a Jack-in-the-Box.’

“Yes,” continued Mr. Hemsley, “this is the eighth or ninth time that I have constructed the scene for Tommy’s last tussle. Last year it was Africa; the year before Egypt; this year it’s the frontiers of India, we are among the hills and the Afghans. Here is the model, and we will go over the field together if you would like. To begin, the circus ring of the tournament represents the valley. The attacking force take up their first position at the lower end of the ring. No, I don’t know, there may or may not be larger business; but there is to be no puddle, no river to cross. The defenders will occupy – although at first not a soul will be discoverable – the top of that ring. Look out! – there’s a plank settling your top hat.” The workmen were clearing up for the night and had not noticed us standing under the ledge of a big rock.

“Either you or I shall have to call an ambulance if we stay where we are,” is Mr. Hemsley’s remark. “Here is the plan of battle – you have cast your eye on the model; now turn your own anticipatory war correspondent, and as far as my knowledge goes, I’ll check you.

The Battle.

There was nothing for it but for the writer to accept the position and become his own Mahatma, and by the help of official paper and print to describe what will take place. ­­First of all, you must have an inkling of where you are. Our reproduction of Mr. Hemsley’s model supplies the key. You are on the North-West frontier of India; and this is just what happens/ A cavalry patrol is dispatched to reconnoiter. The 4th Queen’s Own Hussars use their field-glasses and their wits and find nothing. To all intents and purposes there is not a single soul about the place. They pass the work “All’s well” down the line (or along the telegraph) to the infantry in the rear. But the hill chaps are wily boys. They are just as brown as mountains, and “you never quite know where the devils are” – as Tommy invariably says of his enemies, be they black, white, or mulatto. Unless it is the wet season, these hill roads are as dry as tinder; water is invariably at a premium. So, the Royal Engineers, who are always with us on the war-path, are ordered to sink a Norton tube well. They tap a spring; the horses are watered and the calvary push on.

The advance infantry now come to the front, bringing with them a Maxim, and it is bound to the latest horseless carriage, a tricycle. “Halt!” “pile arms!” are the words of command by the well; and Tommy’s chefs set about cooking dinner. But every day in active service is not all April sunshine. Look! The Afghans have slipped out of their hiding-place, the fort, and have stealthily crept in an out among the stones till they are on the threshold of the camp. The hill chaps, in their varied uniforms – jackets and overcoats as full of colours as a garden sidewalk – make a “rush.” No: our lads in red don’t turn tail. They stick to their guns and form a square with their Maxim as a centre, The stand is for death or glory. British Tommy is nearly wiped out. Mow the jiggers down as he may, his enemies appear to be as thick as the pebbles by the seashore. Virtually victory is in the hands of the hill men. Bang! Bang! Goes the Maxim; and the bullets for the last time whizz their Death rattle. All is up. The white feather, the flag of truce, may be fluttering in a minute. Suddenly a cheer rends the air, and rings and echoes as it runs along from mountain to mountain, Tommy has found his Blucher – reinforcements at hand. All the world says, “Is anything so thrilling as a British cheer?” The Afghans are affrighted – giving full vent to their personal yah-yahs they beat a hasty retreat. Up, up the hill they scamper, and if the can help it our lads in red must not follow them. So, looking to make secure their retreat, they cut away the bridge, and thus – see – they make good their escape.

And what a cheer it is! Foe a body of bluejackets are amongst those to the rescue. They have their “barker,” too – a 7-pounder. Watch them as they climb like cats up and over the rocks and pray that you and your son and your son’s sons may have the heart of a sailor. The bluejackets hold the position; they pepper and salt the Afghans. And whilst their shower of lead is doing its duty, the bridging battalion of the Royal Engineers have built a new bridge across the ravine. The Afghans are good marksmen. True, their guns are old omen, but by a slice of luck they have managed to put the 7-pounder out of action. The sone of Neptune, however, are not dismayed. Actively they repair the fluke; they gun is again quickly playing “Rukshons” with the enemy. There is a hip, hip, hurrah! A struggle as to who shall be first over, and upwards and onwards, right into the teeth of the enemy, go our men, their guns and their horses. Huzzah after huzzah like peals of thunder play on our ears. They are storming the fort. It is almost a shoulder-to-shoulder tussle. As one man drops out another takes his place. Wilder and wilder grow the cheers. At last, the gate succumbs – with a hip, hip, hip, hurrah! In they go. The Union Jack floats over the fort – once more, the days is ours. Then the band plays.

But the sham battle would not be true to nature if the horrors of war were quite overlooked. The ambulance corps are as busy as bees; a hospital is erected’ the wounded brought in and dealt with.

The music plays “God Save the Queen,” you rise, lift your hat, and leave your seat. The mimic war for to-night is over.

The other great sight at the Tournament is the pageant of the “Sons of the Empire,” and this we shall describe and illustrate in our next week’s issue.”

Hemsley also continued to paint act-drops. When the New Queen’s Theatre, Longton, opened The Era reported, “The act-drop which was much admired, has been painted by W. T. Hemsley, the well-known London scenic artist and represents Trentham Hall, a favourite place for the residents of the neighborhood” (May 23, p. 11). The building was designed by Frank Matcham.

On May 29, 1897, The Era reported that Hemsley would also paint the new drop curtain for the New Fulham Theatre, stating, “The drop curtain will be from the brush of the well-known scenic artist, W. T. Hemsley” (p. 11).   

In 1897, Hemsley painted scenery for C. P. Levilly’s touring production of La Poupee. On Sept. 18, 1879, The Era described his scenery at the Prince of Wales’s Theatre: “Mr. W. T. Hemsley has painted some capital interiors; and the fine tableau of the doll-warehouse in the second act argues excellent stage-management and liberal outlay” (p. 10). Hemsley also painted scenery for The House That Jack Built, or the little old woman who lived in a shoe, also written by Arthur Sturgess, the author La Poupee. Hemsley was one of several artists who painted scenery for the show. On Dec. 21, 1897, The Liverpool Mercury reported, “Elaborate and Beautiful Scenery designed and painted by Messrs. W. T. Hemsley, T. E. Ryan, W. P. Warren and E. G. Banks” (p. 1). Another article published about the production on Dec. 23, listed the scenes and the respective artists for each: “Scene I – Anywhere Junction (W. T. Hemsley); Scene II – The Village of Collywobble (W. T. Hemsley); Scene III – The Squires Back Garden (E. G. Banks)l Scene IV – Exterior of the Shoe (W. P. Warren), Scene V – Fairy Glade in Spring (E. G. Banks), Scene VI – Haunted Thicket and Lonesome Waste (W. P. Warren), Scene VII – The Squire’s Library (E. G. Banks), Scene VIII – Margery’s Gymnasium (W. P. Warren), Scene IX – The Terrace and Grounds of Jack’s House (E. G. Banks), Scene X – Overlooking the Mersey (W. P. Warren), Scene XI – The Prince’s Palace (T. E. Ryan), Britain’s Glory Grand Electrical, Finale.”

Descriptions of Hemsley’s scenic contributions near the end of the nineteenth-century were still included in articles about various shows but became much less descriptive. Commentaries on his work were brief and included the words, charming, handsome and picturesque. His projects included Much Ado About Nothing, Les Cloches de Corneville, The New Barmaid, The Babes in the Wood, On the Flat, Thou Shalt Not Kill, The Blind Witness, and others.

Hemsley was included in an article, entitled “Scene-Painters and Their Art” by Frederick Dolman for Cassell’s Magazine (Vol 19, p. 620-624). A lengthy excerpt from this article was also published in The Era on Nov. 11, 1899 (p. 9).

W. T. Hemsley in his studio at his palette, 1899.

Extant palette in the paint room at the Citizen’s Theatre, Glasgow (formerly known as the Princess’s Theatre).

Here is the article in its entirety as it helps provide context for Hemsley’s life and career at the turn-of-the-20th-century.

SCENE-PAINTERS AND THEIR ART.

BY FREDERICK DOLMAN.

ART with a capital A still looks down upon scene-painting, I suppose, as a sort of poor relation. Yet there can be little doubt but that the stage, rather than the picture-gallery, is the dominating influence in popular ideas of form and colour. For every visitor to Burlington House there are a dozen to “Drury Lane,” the “Lyceum,” and the “Adelphi.” The R.A., it may be said, paints for the classes, but the successful scenic artist exhibits his work every night to both classes and masses. But the one paints pictures by the square inch, the other by the square foot. Therein, of course, is all the difference.

Under the heading of “Scenic Artists” in the London Post Office Directory, you will find nineteen names and addresses; and of the names, probably theatre-programmes have made half a dozen more or less familiar to playgoers. This is not to be taken, however, as quite a complete list of even the leading men in the profession. It does not include, for instance, Telbin, whose “painting room’ is at Blackheath, nor Hawes Craven, another veteran, who works at the Lyceum Theatre-for whose service practically all his scenes are produced. You may rightly infer from it, however, that scene-painting is one of the smallest professions, even when full allowance is made for its provincial members and for artists permanently attached to particular theatres. With the multiplication of theatres, and the increasing expenditure on their productions, it would probably be much larger but for the contemporary convention which limits a play to three acts.

To see the chief scene-painters at their work, you must to-day go, not behind or above the stage of the principal west-end theatres, but to their own independent. painting rooms,” situated mostly in the south-eastern postal district. The disappearance of what in theatrical parlance was called the “stock system” has changed the scene painter’s lot even more than the actor’s. Instead of holding a salaried appointment to one theatre, he is now a professional “freelance,” working in turn and on contract for a number of theatres.

“The Lyceum,” said Mr. W. T. Hemsley, when I was discussing with him this important change in his vocation, ” is about the only west-end theatre left which permanently employs one scenic artist. In one or two London houses, and in a few provincial theatres, where big pantomimes are produced, a man may be employed all the year round on salary, but his work consists chiefly in painting pantomime scenery. For every new production in London two or three artists are specially engaged, probably doing a scene apiece, on terms arranged in accordance with the scenery required; and the same thing is true when the piece is sent on tour and fresh ‘sets’ are required. Under this system nearly all stage scenery is now produced in London, although there are one or two provincial ‘painting rooms,’ which are supported chiefly by the cheaper kind of touring companies.”

The new order is almost entirely for the better from the scene-painter’s point of view. For one thing, he works under much healthier and pleasanter conditions than were possible in the theatres, where the “painting rooms” were usually over “the flies,” devoid of natural light or ventilation. But buildings in which the necessary equipment can be put are not easily obtained at reasonable cost. Mr. Telbin works in what was once a volunteers’ drill hall, Mr. T. E. Ryan has converted a mission chapel off the Walworth Road to his uses, whilst Mr. Hemsley has had his painting room, near Westminster Bridge, specially built for him. For some time, Mr. Joseph Harker used the “painting room” at the old Her Majesty’s Theatre; and when this was demolished, he took refuge for a time at Astley’s. He has now established himself in a cabinet-maker’s factory-partly reconstructed for the purpose-at Kennington Green. Mr. Walter Johnston, of Macklin Street, Drury Lane, is, I believe, the only scene-painter who has found it practicable to carry on his profession in the immediate neighborhood of stageland.

At theatres of average size, a “cloth “-the technical word for a scene-measures about thirty-six feet wide by forty-four feet long. Covent Garden Opera House, which has the largest stage in London, will take one forty feet by seventy. How to paint this immense area of canvas in one piece was a problem for a long time unsatisfactorily solved by placing it flat on the floor, the artist bending over it and laying on the colour with a long brush. This is still the method in vogue on the Continent, but English scene-painters have found a more excellent way. The “cloth” is tacked on to a wooden frame perpendicularly, and raised or lowered, as the painter may require, by means of a windlass. For this a fairly lofty building is necessary, having, as a rule, only one floor, through which there are apertures for such scene-shifting, and the basement being used by the carpenters who make the frames. In large painting-rooms, such as those in which I saw Mr. Hemsley and Mr. Ryan at work, you would easily imagine yourself behind the scenes at the Lyceum or the Adelphi but for the daylight and fresh air admitted by the windows and skylights.

“When a commission is given to you for a scene in a new production, how do you set to work?” I asked Mr. Ryan as we sat, a few feet away from “Venice,” destined to be the background of the Gaiety stage in the second act of A Runaway Girl.

“I first get my instructions from the manager – and sometimes from the author – as to what is wanted. They may be very full or very meagre. Some managers know exactly what is required, others have only the vaguest idea. Of course, I much prefer to work to work for the man who is able, verbally or on paper, to tell me definitely the scene he wants.

“A plan of the stage with its peculiarities, impediments, arrangements as to lights, etc. clearly marked, and made according to scale, is then sent to me. With this plan by my side, I make a cardboard model of the scene. Upon my model I always spend a good deal of care and time, everything being exactly according to scale. The model is then submitted for the manager’s approval. One or two slight alterations may be suggested; but, if my instructions have been explicit, the model, as a rule, is promptly returned, and I am ready to begin work on the actual scene. Sir Augustus Harris was an ideal manager for the scene-painter. He chose those whom he considered the best men for particular kinds of work, gave in a few words the most lucid directions, and then, trusting their ability, troubled them no more till their work was finished.

These “models” of which several were standing about the “painting room” looked, at a general glance, just like miniature theatres of the nursery. But a closer inspection revealed the care which had been bestowed upon every minute detail, each little picture having a perfect finish, such enables you to realize it as though it were presented on the stage of a theatre of bricks and mortar, instead one of cardboard and paste. Among others were two models of Macbeth scenes for Mr. Forbes Robertson’s production of the tragedy at the Lyceum.

“Is new scenery always painted for a revival of this kind?”

“Oh, yes, when an actor like Mr. Forbes Robertson is concerned. Of course, Mr. Forbes Robertson could easily hire Macbeth scenery; but then he has ideas of his own about the production, and his scenic arrangements must differ in various important points from those, say, of Irving’s Macbeth.

What becomes of the scenery, the reader may ask, when a play is withdrawn? Well, the leading London actors who are occasionally or permanently “in management” store scenery for future wants. A good deal of scenery used in London productions passes at the end of the “run,” into provincial towns.

The model having been approved, it is placed in the hands of carpenters, to enable them to make the necessary framework.

Canvas, of much the same kind that any artist would use, is then cut and stitched, and tacked to the frame after it has been placed in position ready for the work of the artist. The painter first outlines his picture in chalk or charcoal. In use of his pigments, which are. Of course, always mixed in distemper, the scene-painter has always to remember that his picture is to be seen by artificial light. He must, for this reason, emphasize his yellows, and avoid powerful greens, because they will look coarse, and deep blues, because they will become black.

In other respects, the scene-painter proceeds with his work on much the same lines as would the picture-painter; having filled in the background, he colours and tints with an eye to the general effect a few yards, instead of a few feet, away. But, in addition to the main picture, there are “wings” and “top cloths” to be painted, besides “relief work,” which calls for the art of the sculptor as much as that of the painter. Then the whole thing has to be carted away to the theatre and “set” to the satisfaction of artist, manager, and, possibly, author.

Scene-painting carries little fame, and that not of an enduring kind. Is it a lucrative profession? This is a delicate matter to touch upon in conversation with its representative men; but I should think, from what they told me, that in recent years their gains have been largely on the increase. Theatrical managers are often unsparing if the completeness and accuracy of a scene are at stake. Mr. Ryan told me that he charged the same prices, irrespective of the theatres for which he was working, and mentioned three weeks as a reasonable time in which to execute an order for one scene. It should be added, however, that all the leading scene-painters employ one or two young men as assistants, as well as several artisans in some cases.

In the training of scene-painters the art of the studio joins with that of the stage. Mr. Harker is the son of an actress; and during early life, when he saw much of the stage, he studied under John O’Conner, who was a member of the Royal Institute of Painters in Water Colours. Mr. Hemsley in his youth was an engineers at Swindon, but he spent his leisure at the local art classes, and owed his first engagement, at the Worchester Theatre, to a knowledge of mechanics, coupled with his work as scenic artist to the Swindon Amateur Club. Mr. Telbin and Mr. Ryan, on the other hand, have, I believe, got all their art knowledge from scene-painting rooms. But it is likely that in the future all the leading scene-painters will be well-trained in the theory of the art, for most of articled pupils now serving in the painting rooms obtain outside instruction in art schools. It may be taken as a sign of the closer union between scene-painting and the art of the Royal Academy that Sir Alma-Tadema’s assistance should have been secured by Mr. Beerbohn Tree in preparing the scenery for Julius Cæsar, Mr. Joseph Harker and Mr. Walter Hann painting their “cloths” under the guidance of the Academician most distinguished for his pictures of classic Rome.

The same year that the article was published, two of Hemsley’s pantomime sets for Dundas were taken out of service and sold. On Aug 19, 1899, Henry Dundas published the following in The Era: “For Sale, an excellent Pantomime Production of Aladdin” Complete set of “Bo-Peep.” Both painted by Mr. W. T. Hemsley. Full particulars. Henry Dundas, Theatre Leamington (p. 24). The world of scenic art was starting to shift, but the demand for act-drops remained steady. In 1899, Hemsley painted act drop for the New Hastings Theatre. It was located on the same site as the previous Empire Theatre of Varieties in Hastings (The Era, 1 April 1899, p. 1). The following year he painted another act-drop, this time for the Gaiety Theatre in Douglas on the Isle of Man. It was my close examination of Hemsley’s act drop at the Gaiety Theatre that renewed my interest in this particular individual. Although I had encountered pictures of both Hemsley and his studio over the years, I was suddenly driven to learn more about the life and career of this extraordinary artist.

In 1900, Hemsley also painted a new act drop curtain for the Grand Theatre, Derby. It was part of F. W. Purcell’s £7,000 renovation of the space (The Era 11 Aug 1900, p. 29). As with the Gaiety, this was another Frank Matcham design.

In 1901, the Hemsley household included William (50 yrs.), Fanny (48 yrs.), George (24 yrs.), Harry May (28 yrs.,), Ivey (16 yrs.) and Grace (14 yrs.). William and George listed as “scenic artist and sculptor” for their occupation, with Harry listing only “sculptor” for his at the time. However, Harry was also a skilled artist. His experience while drawing children fueled his later career as a child impersonator. There are extant films on YouTube from the 1920s that show Harry’s impersonating skills. Here is one link: that shows Harry’s skill as an artist and impersonator: https://youtu.be/C7YG_0w3cPg?si=icThxT7N6YXsP9Sb Harry’s career is another rabbit hole that I could easily get sucked into. I will have to stop with a 1927 article that gives a little history. On May 26, 1927, The Guardian published an article about Harry, still remembering his father, “W. T. Hemsley, the eminent scenic artist” (pg. 12). The article reported, “[Harry] himself is an artist, and at an early age of sixteen was a regular contributor to many pictorial magazines. His principal studies were children, and on nearly all occasions when exhibiting at the Society of Arts invariably disposed of those pictures which represented child life. He has a natural attitude for imitation and since children were his principal models, every opportunity was afforded him of studying their habits and idiosyncrasies. All his stories and observations as taken from life, and his mimicry is considered to be lifelike.” In 1904, Harry married Rose Florence Kingswell.

Some of Hemsley’s designs from 1902 to 1907 are listed at Theatricalia.com. Sadly, they represent only a small sampling of his work. Designs listed include:

Dr. Nikola Frank de Jong and H. S. Parker with his son, George Hemsley, at the Princess’s Theatre, London (1902).

Two The Eternal City tours for Herbert Beerbohn Tree (1902-3 and 1903-4).
The Darling of the Gods for Herbert Beerbohn Tree at His Majesty’s Theatre, Haymarket, London (1903-4)

The Taming of the Shrew for Oscar Ascheat the Adelphi Theatre, London (1904-1905).

The Darling of the Gods at the Prince’s Theatre, Bristol (1904-1905)

Richard III for Herbert Beerbohm Tree at His Majesty’s Theatre, Haymarket, London (1906-1907).

Despite a reduction of details about Hemsley’s scene painting projects in newspaper articles, he was certainly not fading from the public eye. 1905 30 March p 10. Manchester Courier and Lancashire General Advisor. “Scene Painters. Retrospect and Appreciation.” The work of both George Hemsley and W. T. Hemsley were included in the article. That year the Scenic Artists’ Association held an exhibit at Grafton Galleries. On April 11, 1905, The Birmingham Post reported, “The work of the best-known scenic artists is often seen and admired in the course of a year by a greater number of people than even the most brilliant efforts of painters with a world-wide reputation; but those who appreciate the wonderful settings which are a feature of so many dramatic productions fail to realize that their creators must possess the ability to wield a brush upon an ordinary-sized canvas, as well as upon material destined to assist in presenting life and nature behind the footlights. Between three and four hundred specimens of this position of the output of those whose names appear on programmes after the words “scenery by” have been gathered by the Scenic Artists’ Association, and are being exhibited during this week at Grafton Galleries, among those represented being Sir Lawrence Alma-Tadema, R.A., the late Sir Edward Burnes-Jones, Mr. Hawes Crave (the president of the association), Mr. W. T. Hemsley, Mr. Walter Hann, Mr. J. C. Harker, Mr. W. Telbin, Mr. Edward G. Banks, Mr. R. C. McCleery and Mr. W. B. Spong. The collection is very interesting, and many works are valuable, from both artistic and commercial standard; while an attractive section is devoted to a number of models for scenes, such as are prepared for the consideration of theatrical managers before the carpenter and artist commence on the finished article. Several of those shown are familiar to the playgoer, as they have recently been seen in their completed form, which, however, is hardly more elaborate that the model. Among them is a clever representation of “Sunrise,” which has been put together by Mr. W. R. Young, of the Prince of Wales Theatre, Birmingham, who has also sent a charming little painting depicting the Malvern Hills” (p. 6).

Two days later, another article, entitled “Scenic Artists’ Association” again mentioned Hemsley’s contribution to the exhibit. On April 13, 1905, The Times reported,

“Scenic Artists’ Association,- The Scenic Artists’ Association, which was founded last year, is holding at the Grafton Galleries a week’s exhibition of drawings, paintings, models of scenes and other things, most of them the work of the members, some of them sent by members and friends. Scattered among the works of the living artists – for no one who has visited the exhibition will hesitate to grant the living exhibitor’s right to the term – are a. few well-known old masters, examples of David Cox, Sam Bough, the Leitches, Nasmyth, Clarkston Stanfield, and W. J. Callcott. Mr. W. T. Hemsley sends a very interesting collection of the works by W. R. Beverly, and Mr. Gaskin contributes a small painting by an artist whom every scene-painter must regard with reverence and gratitude, de Loutherbourg. Another interesting feature is the sketches for Shakespearian scenes by John and Thomas Grieve, and one notable exhibit is Sir Edward Burnes-Jones’s “Passing of Arthur.” Of living members of the association, Mr. W. Telbin is well-represented; the president, Mr. Hawes Craven, sends a number of charming things, the most popular of which will probably be the series of black-and-white drawings for scenes in King Henry VIII. ; and among a number of works by other well-known names we may single out those of the Hemsleys, of Mr. Harker, Mr. Hann, and Mr. A. E. Bramley, and some beautiful things by Mr. R. C. McCleery. In the furthest room in the gallery is a collection of models and scenes, and here the visitor may see Mr. Telbin’s shipwreck in The Tempest and his church scene in Much Ado About Nothing; Mr. Harker’s beautiful garden scene, with the maze, in A Clandestine Marriage; Mr. W. T. Hemsley’s Act I of The Prayer of the Sword, and many other well-remembered views. The same room contains a small exhibition of curios, Shylock’s scales and Macbeth’s daggers used by Phelps, a prompt-book interleaved with sketches and notes by the same great actor, some old playbills and books on theatres, and a very fine set of illustrations of the Teatro Manzoni in Milan. The whole exhibition, through apparently rather hastily put together and not over-clearly arranged and catalogued, is of great interest to all who care for scenic art and its relation to other branches of pictorial art, but a further attraction may be found in the excellent little concert-recitals which are given every afternoon between 3 and 5. Several good names appear on the programme for each afternoon” (page 4).

Hemsley’s theatrical contributions for the next decade included W. W. Kelly’s London Co. production of A Royal Divorce at the Pleasure Gardens Theatre. On June 18, 1910, the Folkestone Express, Sandgate, Shorncliffe and Hythe Advertiser reported, ““The dresses and scenery are most praiseworthy, and perfect in details, the well-known scenic artist, Mr. W. T. Hemsley, having specially prepared the canvas scenes representing the palaces and gardens wherein Napoleon and his consorts passed their home-life. There, too, is the little inn at Genappe, and in this act there are two wonderfully realistic tableaux, representing the Battle of Waterloo and the overthrow of the Emperor. The last act shows Napoleon exiled to St. Helena – the departure from Plymouth Harbour.”

Hemsley gained international recognition during the last few years of his life. His name made California newspapers in 1914. On March 23, The Los Angeles Evening Express announced the debut of the Stratford-Upon-Avon Players at the Mason Opera House for a week-long engagement, reporting “Entirely new scenery was provided for this American tour for the whole repertory, the order being executed by W. T. Hemsley of London, the leading scenic artist of England” (p. 18). The repertoire included The Merry Wives of Windsor, King Henry the Fifth, The Merchant of Venice, King Richard the Second, As You Like It, and Hamlet.

Three years later Hemsley was featured in The Hippodrome Magazine, London (October 1917). His portrait was included with the caption, “Mr. W. T. Hemsley, One of Great Britain’s Leading Scenic Artists.  The article was entitled “A Famous Scenic Studio. Mr. W. T. Hemsley and His Work.”  The article reported, ‘All the World’s a Stage’ – said Shakespeare. If it were we verily believe it would be W. T. Hemsley who would be called upon to provide the scenery. No man has greater experience or possesses more intimate knowledge of the great Scenic Art than this painter, whose latest work for the successful play, Three Weeks at the Strand, shows how thoroughly he appreciates the poetical as well as the practical side of his Art. Although W. T. Hemsley goes back to the days when London had its summer and winter theatres, he has never failed to keep well ahead of the times, and with each new production in London, has actually increased the reputation that he has built up during a period considerably over a quarter of a century. Whilst Mr. Hemsley never overlooks the past and is never tired of telling of the theatrical geniuses whom he continually came in contact, he realizes that these are modern times and that it is the 20th century who is his Commander-in-Chief. This is the reason -a very good one, too – why, at his studio on Felix Street, Westminster Bridge Road, we find the most up-to-date paint rooms in London. Although one of the most characteristic of men, W. T. Hemsley is modern in his methods, and he could not have kept – as he had done – his finger on the pulse of the playgoing world if this had been otherwise. True, he belongs to an era of individuality, and there is not a more popular man in Bohemian Theatrical like than “W. T. H.” Beloved by all who know him and undertook him or work under him, he is the doyen of scenic artists, and the modern producer, like the producer of the past, relies upon his sound judgement and practical advice. Originally a cartoonist on the public Press, Hemsley at an early age took an active interest in scene painting, and it was not long before, young and ambitious, he was controlling the Grand Theatre, Islington. That was considerably over thirty years ago, and soon afterwards he established his present paint rooms. There is scarcely a production of importance in which his name and brush have not played a prominent part. The later Sir Herbert Tree – to come down in the West End, for the London Opera House, this being but one of many that he has executed for the West End and Provincial places of amusement. Distinguished by its beauty and originality, its accuracy and loyalty to the period it represents, the scenery of W. T. Hemsley has won the unrestricted admiration of the British playgoer. His son too – George Hemsley – who did so much to further the interests of scene painting in India, possesses many of his father’s attributes – and they are manifold – for W. T. Hemsley is endowed with a wonderful and a remarkable gift for retaining it, that few scene painters in England or on the Continent can equal.”

Less than four months later, Hemsley passed away. On Feb. 5, 1918, the North Mail, Newcastle Daily Chronicle announced,“Well Known Scenic Artist Dead. Mr. W. T. Hemsley, a Native of New Castle.” His obituary notice continued, “The death was announced yesterday of Mr. W. T. Hemsley, the well-known scenic artist at his residence, The Chase, Clapham Common. He has been ill for some months. Mr. William Thompson Hemsley, who was in the front rank of scenic artists, was born at Newcastle in 1850, and was a grand-nephew of John Graham Lough, the eminent sculptor. At an early age Mr. Hemsley went to Swindon to work at engineering, and there spent leisure time at the local School of Art. When only 16 years of age he obtained a teacher’s certificate and also the Society of Arts’ first-class certificate. Mr. Hemsley became acquainted with the later Rev. J. M. Bellew, father of Mr. Kyrle Bellew, and by him was introduced to Mr. Augustus Harris, sen., at Covent Garden Theatre, and to Mr. J. O’Connor of the Haymarket Theatre, obtaining through the letter of engagement with the late Mr. Beverly at Drury Lane. While Mr. Hemsley was studying at the Lambeth School of Art, Mr. Tom Taylor, the celebrated dramatist, frequently selected for him subjects and criticized his sketches, and notably highly commended his composition of “The Lady of the Lake.” In 1874 Mr. Hemsley returned to Swindon, and there his artistic ability was recognized by Charles Mathews, who gave him and introduction to Miss Sarah Thorne at Worcester, and for some years he remained under her management at Margate as resident scenic artist. On the conclusion of the ninth successful pantomime, Mr. Hemsley was presented with a valuable gold watch, engraved with a testimonial. This was in 1885, and it was while painting scenery at Margate Mr. Hemsley filled up his time by drawing caricatures for a local newspaper, and then went on tour to do lightning caricatures. While resident artist at Sadler’s Wells Theatre, Mr. Hemsley painted scenery for Kyrle Bellew’s production of ‘The Corsican Brothers,’ and for Miss De Grey’s Shakespearian productions. Mr. Hemsley then went to the Grand Theatre Islington, and a little later, entering into a partnership with the late Charles Wilmot, he opened a scene factory in the Belvedere Road, and there painted scenery for Mr. F. R. Benson’s fine production of “The Midsummer Night’s Dream” at the Globe Theatre. In 1892 the partnership was dissolved, and Mr., Hemsley opened on his own account large studios in Felix Street. Mr. Hemsley’s special forte was a skillful combination of mechanical ingenuities allied to scenic effects. He painted for all the leading London theatres and was concerned with Mr. Hugh Moss in some sixty productions. He painted several years for the Cambridge University, and for Mr. Henry Dundas all the reproductions of the Drury Lane successes. He painted upwards of fifty act-drops for the new provincial theatre, and also did work for the principal London music halls. He took a very active interest in the Scenic Artists’ Association and was one of the original members of the council management.”

Similar announcements made newspapers all across the country. The Norwood News added, “There is hardly a West-end theatre which, since then, he has not furnished with convincing proof of his talent as a painter. He was responsible for the scene in many of Sir Herbert Tree’s “La Poupee,” and had also been associated with the productions of Mr. Arthur Bourchier, Sir Frank Benson, Mr. Lewis Waller, Sir. J. Forbes-Robertson, and Mr. Oscar Asche. He began scenic work fifty years ago by painting the stock scenery for the Mechanics Institute at Swindon. He was a member of the Savage Club. With him the readiness was all, and the celerity with which he would provide a humble interior, a palatial edifice, or a garden set was quite remarkable. He knew, as he was known by, everybody, and his fund of good stories and interesting reminiscences was practically inexhaustible. He will be sadly missed by his many friends and acquaintances.”

Detail of W. T. Hemsley’s Act-drop for the Gaiety Theatre in Douglas on the Isle of Man.

To be continued…

Travels of a Scenic Artist and Scholar. The Gaiety Theatre Act Drop by William T. Hemsley.

Copyright © 2023 by Wendy Waszut-Barrett

Throughout my career, I have encountered examples of scenic art that took my breath away. My most recent experience occurred during a visit to the Gaiety Theatre and Opera House in Douglas, Isle of Man.

The act-drop, painted by William Thompson Hemsley (1850-1918), is exquisite.

Photograph by Mike Hume while I am attempting to document painted details.

It is obvious that Hemsley was at the peak of his painting career when he produced this large-scale artwork. Hemsley’s economy of brush stroke and color combinations are quite remarkable. In fact, they are inspirational. Seeing this drop should be on every scenic artist’s bucket list. You will learn so much about the brevity of scene painting when examining his work.

Detail of dancer’s foot in W. T. Hemsley’s act drop at the Gaiety Theatre.

This post will examine Hemsley’s drop in detail, placing it within the context of theatre history. It will also examine its current condition and past repairs. My next post will look at the life and career of scenic artist W. T. Hemsley (1850-1918). Then I will continue with my last two theater visits in the UK during September 2023.

As with most front curtains for Victorian performance venues, Hemsley’s design for the Gaiety Theatre unifies the auditorium’s color palette and décor. Although the central subject exhibits an exotic eastern theme, the painted surround seamlessly blends with the architectural surround and auditorium designed by Frank Matcham.  

Detail of painted curtain next to proscenium arch.

Detail of painted curtain next to proscenium arch.

I am going to briefly touch on theatre terminology first. Hemsley’s “act drop” design is identical to many “drop curtain” designs in the North America. Drop curtains, also labeled in the US as front curtains and main rags, were frequently lowered in between acts, unless an advertising curtain was employed. In many cases the terms act-drop, drop curtain, painted front curtain, and main rag can be used interchangeably. Terminology is based on where you live. It is very important to not get caught up in the name, but to look at the actual function of the scenic piece. I think of the dispute between “hot dish” and “casserole” in the United States. They are both a one-dish meal, baked in the oven. Same thing, different name.

Back to the act drop…

This type of scenic design frequently includes a central “painting” – one that often replicates a popular artwork or subject matter.  This central “artwork” is surrounded by an ornate frame, draped in lush fabrics. These drop curtains were often the pinnacle of an auditorium’s décor, tying everything together while concealing the magical realm behind the footlights. As audience members waited in their seats for the show to start, or the next act to commence, the drop curtain (act-drop) provided theatre patrons with an opportunity to study the grand work of a scenic artist. The proscenium opening became a gallery wall, providing many scene painters with an opportunity to flaunt their artistic abilities. Painting a successful drop curtain required extensive skill, as well as a thorough understanding of distemper painting techniques for landscapes, architecture, draperies, and, in some cases, figure painting.

There is an article entitled, “Well-known drop curtains in Philadelphia, published in The Philadelphia Inquirer on Dec. 18, 1894.” It examines the significance and subject matter of drop curtains at the time. The article describes the work of Matt Morgan, Russell Smith, William M. Voegtlin, Alfred Voegtlin, Hugh Logan Reid, E. H. Chase, Lee Lash, Gaspard Maeder, and Frederick Schaefer, are featured in the article.  Here is an excerpt from the article:

“The drop curtain is the most expensive piece of furniture in any playhouse. Managers are most solicitous about the care of a handsome drop curtain than almost any other appointment in the theatres. They are usually painted by the artists of wide fame in the peculiar branch of art which they represent, whose charges for the work range from $1000 to $3000…It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts, it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.”

Only a small percentage of historic backdrops that I have documented include figures, especially on those dubbed drop curtains. Most recently, I documented an 1897 drop curtain for the Forum Theatre in Bronzeville, Illinois (a community on the south-side of Chicago).  The forum scene depicts very small figures to suggest the scale of their monumental surroundings.

Painted detail from Sosman & Landis drop curtain at the Forum in Bronzeville.

My hand showing scale of the figures on the Forum drop curtain.

The inclusion of larger, or full-scale figures, is extremely rare in extant scenery collections. In fact, the only times that I have consistently encountered figure-work is painted on scenes at Scottish Rite Theatres; specifically, group scenes for 18th degree productions. For context, many North American Freemasons theatrically stage their “degree work”, like a morality play. It is performed for the educational purposes of members. Here are a few examples from Scottish Rite scenes for context.

Painted scene by Toomey & Volland Studio (St. Louis, Missouri) at the Masonic Theatre in Deadwood, South Dakota.

Painted scene by Toomey & Volland (St. Louis, Missouri) at the Masonic Theatre in Quincy, Illinois.

Although some of the work is quite skilled, in some cases there have been few questionable choices. This detail of a foot may simply indicate the speed at which these scenes were painted. Keep in mind that most American scenic studio artists were working in a factory setting to mass-produce painted illusion.

Painted detail from cut-drop created for the Scottish Rite Theatre in McAlester, Oklahoma, c. 1908. This painted scene is now used at the Scottish Rite Theatre in Salina, Kansas, USA.

The Gaiety Theatre act drop holds a unique place in World Theatre History, when considering not only the artistic skill of Hemsley, but also the subject matter.

When I first encountered Hemsley’s design for the Gaiety Theatre, it reminded me of a drop curtain design by scenic artist John Z. Wood (1846-1919). At the time, Wood was working for the Twin City Scenic Co. in Minneapolis, Minnesota. Wood’s design also incorporated a dancing girl. Interesting aside, Wood was born in England and emigrated with his family as a young both, eventually settling in Rochester New York. For more information about Wood and his artistic style, here is a link to one of the many posts that I have written about him: https://drypigment.net/2019/12/10/tales-from-a-scenic-artist-and-scholar-john-z-wood-scenic-artist-1846-1919/

Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.

Painted detail. Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.

Painted detail. Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.

Wood’s scenic designs are part of an online digital database.Here is the link to the design: https://umedia.lib.umn.edu/item/p16022coll116:1819

Sadly, Wood’s central composition is somewhat obscured under a layer of glue; another central design was pasted over this original composition at a later date. The original work was discovered when the Twin City Scenic Company Collection was catalogued, under the supervision of my mentor, Prof. Emeritus, C. Lance Brockman. Between 1999 and 2000, I assigned metadata to each of the artifacts. My familiarity with four scenery collections in the online database has allowed me to help link designs with extant scenery over the years. Here is the link to access the collection in its entirety: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

Although I have read descriptions of exotic eastern scenes for Victorian stages, few have survived. Here are some photographs of Hemsley’s act drop so that you can appreciate his skill and attention to detail.

Central dancer.

Dancer’s shoes.

Looking even closer at fabric and brush stroke.

Reclining man.

Hand detail of man in composition.

Detail of frame.

Fabric and frame detail.

Fabric and frame detail.

Painted detail of floral arrangement.

Painted detail of tapestry.

Another painted detail.

Painted fabric next to practical fabric.

Tassel detail.

Hemsley’s act-drop is the first fully-framed drop that I have ever encountered. It also meant that the cleaning of this act drop in the 1990s became problematic. The restoration team requested that the framed piece be relocated upstage and face the paint-frame floor. Roy McMillan describes the process in his book A Full Circle, 100 Years of the Gaiety Theatre and Opera House:

McMillan wrote,

“To carry out the work, the drop had to be removed from its fly-bar at the front of the stage, walked (that is, moving one end forward a few feet while the other remains stationary, then repeating the process with the other end) halfway to the back, rotated through 180 degrees, then re-flown and the cleaning done from the paint frame floor. When Mervin and David were releasing it from its fly-bar onto the floor, the side struts nearly buckled. The canvas ballooned out like a wind -caught sail; a few seconds more of the strain and the drop would have been gone forever…[They] managed to haul it back into its original position on the fly-bar and decided another method would probably be safer. It would, however, take more time.

They fixed the drop by three tie lines along a bar. It was moved back one side at a time, one bar at a time, with both of them clamoring up and down ladders to secure it or to untie it, to the center of the stage. Once there, two of the three ties were released, and the center left alone. The intention was to rotate it, so the painted side faced upstage and be attended to on the paint frame floor. But as they turned it, they realized that it was three inches wider than available. This was not a design feature of the drop or a miscalculation. It was because a bridge between the left and right side of the fly floor gallery had been built at the front of the stage, making it impossible to turn the drop round. This bridge was not in the original theatre and has since been removed to allow the house curtain to rise correctly, but it was very much present at the time. Faced with the choice of cancelling the first project of the restoration, or dropping the act drop onto the floor again, they chose a much more straightforward means of solving the problem. They cut a chunk out of the bridge…Once in position, the backing canvas was removed. On the painted side of the canvas itself, the copper-headed nails that held it to the frame had oxidized and rotted the canvas in the immediate area…Its delicacy meant it had to be repaired in situ and the frame rebuilt around it.”

The preservation of the painted composition is also described in McMillan’s publication. McMillan wrote, “In order to avoid glare when lit by the footlights the drop had to be painted in stage paint. This is a powdered water-paint mixed with size – a sticky, globby gel that serves as a fixative.”

[I am going to pause here to correct this statement. This drop was painted with distemper paint. The distemper painting process necessitates that dry pigment is turned into a paste and placed on the scenic artist’s palette.  Some artists in the UK refer to distemper painting as Size Painting. Regardless, during the painting process dry pigment paste is mixed with diluted hide glue (size) on the palette and directly applied to the drop.  The size cannot be used as “a sticky, globby gel.” If the size were this consistency, it means that it has been mixed too strong and will dry with a sheen, thus reflecting stage lights.  When size it properly mixed, it will not gel, unless a studio is kept at an abnormally cold temperature. In my humble opinion, there is no way, that Hemsley (then at the age of 50 yrs. old) would have made this amateur mistake. If he had, the whole drop would look like the painting were sealed with a gloss coat.

Here is an example of a restoration process that used size that was too strong and formed a sheen.

Scene at Scottish Rite theatre in Louisville, Kentucky.

McMillan continues to describe the restoration process:“However, as it was water-based, if the surface was rubbed, the paint smudged immediately,”

[I must explain that distemper -“water-based”- paint is not subject to dusting unless the binder has failed over time. There are hundreds of extant drops, c. 1900 or earlier, that show no signs of dusting and are stable.]

McMillan continues “To clean it required an intermediary layer between the surface and the restorer’s brush. It was achieved using mulberry tissue paper, infused with a liquid that caused the dirt to soften on the paint surface and stick to the paper, leaving clean paint of the original drop beneath.”

I am curious to know what about the “liquid.” I have cleaned hundreds of historic scenes cannot envision how this process worked. However, it may explain the extensive spotting throughout the composition.

Spotting that looks like small areas of water damage as there are tide lines and pigment loss.

Areas with spotting near the bottom of drop.

Spotting that looks like small areas of water damage as there are tide lines and pigment loss.

Spotting that looks like small areas of water damage as there are tide lines and pigment loss.

In the past, I have removed both surface contaminants and embedded dirt from extant drops. If the pigment is relatively stable (meaning that the binder is still working) surface contaminants are easily removed with low-suction dust extraction, Absorene putty, and/or Absorene sponges.

Example of removing surface contaminants with low-suction dust extraction.

Example of using Absorene sponge to remove surface contaminants left after low-suction dust extraction.

Half of a scene that was cleaned at the Scottish Rite Theatre in Duluth, MN.

If the pigment is severely dusting, the loose paint must be consolidated so that it does not continue to dust. This is when conservators debate whether to remove the dirt and cause minimal pigment loss or encapsulate the dirt when the loose paint is consolidated.

McMillan further explains, “if the surface was rubbed, the paint smudged immediately.”

I don’t really know how to interpret this statement. When distemper paint comes into contact with any liquid, even a damp cloth or humid environment, the paint will immediately reactivate.  This is why I don’t understand how “mulberry tissue paper, infused with liquid” works in removing surface contaminants from distemper drops.

If McMillan meant that the distemper paint smudged when dry, that indicates the binder was failing; the pigment dusting from the fabric.

Despite the hard work to preserve Hemsley’s work, the curtain is again compromised. There are a few scrapes that will need attention before the damage spreads, again compromising the longevity of the artwork.

Damage documented during my September 2023 visit. Thankfully, the cause of the scraping has been rememdied.

Detail of the damage.

Theatre backdrops are unique and cannot be preserved like large-scale paintings that hang in stationary positions on gallery walls. They are metamorphic in nature, intended to be constantly handled or shifted. That is magic of painted scenery; artworks that come to life under stage lights.

In early-twentieth-century North America, many stunning act-drops were replaced with fabric draperies, movie screens, or a combination thereof during the twentieth century, the original scenes long forgotten by theatre audiences. Instead of raising a painted curtain to reveal the mysteries of Thespis, heavy draperies were drawn apart to show a movie. The Gaiety Theatre has three front pieces:

Main draperies (that draw apart).

Hemsley’s act drop (also known as a drop curtain).

A contemporary advertising curtain (also known as an ad drop).

It is remarkable how each piece changes the energy in the auditorium. It is certainly a testament to the importance of what fills the proscenium opening.

My next post will be about the creator of the Gaiety Theatre’s act-drop, William T. Hemsley, scenic artist and sculptor. 

To be continued…