Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 20.

Little Boxes
 
The discovery of the paintbrush in loft above the stage prompted an extensive search. Soon, I was sitting in the dirt and peering two feet down into a six-inch gap along the studio floor, looking for more treasure. Austin’s arms were far longer, so he pulled out the majority of the items. It quickly became apparent to my crew that this was not a case of “finders keepers” as had been the case with the remainder of trash piles scattered throughout the building. I now confiscated everything, hoping to add to even more artistic provenance for the Fort Scott scenery collection.
 
In the same spot from where we retrieved the scenic brush, colorful pieces of wood began to emerge. I immediately identified these slats as pieces from dry pigment boxes. With each new discovery, I expressed extreme delight!
Brandon and Austin shot me a puzzling glance, almost every time that I examined an artifact. Occasionally they asked, “Are you taking THAT back to Minnesota too!?!” Their skepticism was understandable as most of the finds resembled construction trash, or broken bits of wood, in the dim light. Although they were broken and dirty, the pigment boxes still displayed the vibrant colors of their original contents.
 
What was a secondary surprise were the shipping labels. Although faded, black stencils denoted the manufacturer and client! For years, I had tracked down the various dry pigment suppliers in Chicago, trying to identify those who supplied Sosman & Landis Studios with their colors. I could now verify at least one of the suppliers for painted scenery projects.
 
The dry pigment had been shipped to “Sosman and Landis c/o the Scottish Rite Fort Scott, Kansas.” For me, this was a smoking gun
Dry pigment bins in a scenic studio
All the while, I kept thinking of the folk song “Little Boxes” with Malvina Reynold’s lyrics:
 
“There’s a green one and a pink one
And a blue one and a yellow one
And they’re all made out of ticky-tacky
And they all look just the same.”
 
Well, just like transporting 300 pounds of whiting and a wooden barrel, I was taking some “ticky-tacky” home.
 
To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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