Tales from a Scenic Artist and Scholar. Part 176 – H.M.S.Pinafore and Faxon the Sign Painter, 1879

In 1879 Moses decorated several private houses, but no one in Sterling could afford a very elaborate job and had very few theatre opportunities. He wrote, “I wanted the big work in the city and if possible, I wanted scenery and not so much decorating.”

1879 “Pinafore” color lithograph cigar label.

Finally, he painted the first set of scenery for “H.M.S. Pinafore” that played west of Chicago. Traveling with the show to Beloit, Illinois, he believed that his scenery looked good.

1879 production of “H.M.S. Pinafore” by the Amherst Glee Club of College Hall.

The production of the painted scenes had proven to be an opportunity to reconnect with his father. Moses wrote, “Father came to the Academy quite often while I was painting the ship set and offered many good suggestions.” I read this and thought that it was probably the perfect show for them to connect on, the old sea captain making suggestions for the ship compositions. Their relationship had come a long way since Moses first left for Chicago and he was now an accomplished artist, receiving support from the theatrical community. This proved his artistic worth to not only his father, but also the entire town of Sterling.

Moses received plenty of encouragement from the travelling companies, all suggesting that he return to Chicago. Moses wrote, “I was afraid to venture, but knew that I couldn’t go on as I was.” He especially need to increase his income after the birth of their first child

On September 6, 1879, “Pitt” was born and Moses wrote about a new fear as provider for his small family. This would be the first four children. He immediately realized that artistic projects in Sterling would never provide an adequate income. During that fall, Moses wrote, “The Winter was coming on and the outlook was anything but bright. I was earning on an average only of about $75.00 per month.”

Moses could continue travelling great distances for painting projects or simply move to a larger city. Regardless, he would have to leave home and start working elsewhere while Ella and Pitt remained at their home in Sterling. The painful separations of the past would start again. He understood that in order to continue his career as both a scenic artist and fine artist, he would need to move to a much larger city immediately and send for his family as soon as possible.

While contemplating where he should seek employment first, Moses received an offer in Grand Rapids, Michigan. His friend “Faxon” was going to start a regular painting business and wanted Moses as a partner. Moses wrote that Faxon was a “high-class sign painter and a good hustler.” In the end, Moses made up his mind to head toward Chicago in the spring. He had several jobs up to Christmas in 1879, but a lot of idle days. He wrote, “I didn’t have the painting bug then, or I would have painted pictures.”

Moses reflected on his wife’s undying support regardless of their situation, even understanding that she would soon be left alone to raise their child. He wrote, “Ella was very brave through it all, never complaining, which kept me up. There were a great many men in Sterling who were doing no better than I, and some doing less, and they seemed to be happy. But I would never be satisfied, for I had been to Chicago and knew what I could do.”

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.

Leave a Reply

Your email address will not be published. Required fields are marked *