Month: July 2018

Part 465: Patrick J. Toomey’s Electrical Pageant for the Wichita Carnival and Fall Festival, 1900

In 1900, the “Street Railway Journal” reported, “The possibilities in the way of electrical decoration and illumination in street parades afforded by the overhead wires of a trolley road have been proved in several cities, particularly New Orleans, and views of the floats use din the Mardi Gras processions in that city last winter were published in the Street Railway Journal” (August 4, 1900, page 705). The article continued, “The unlimited current available for lighting and power to propel the flats makes it possible to secure finer spectacular effects than would otherwise be possible. This was shown during the special carnival, held June 28 in Milwaukee, in which trolley current was used for this purpose to a greater extent probably than ever before, and which was generally regarded as one of the most successful night pageants ever held on this continent.”

Toomey was involved with the electric floats in Milwaukee since 1898, when he received the news of Noxon’s death. By 1900, the Milwaukee Carnival consisted of twenty parade floats, placed on electric trucks, and lighted with 6000 lights of different colors. A variety of subjects, they were “presented without any aim at continuity of idea, but solely for their picturesque beauty and scope for fantastic display of form, color, and effulgent light.” By 1915, San Francisco’s electric parades would boast, “the first electrical pageant to be staged in the city independent of street car current;” the currents for the parade float lights were supplied by automobiles and storage batteries (San Francisco Chronicle, 5 Dec. 1915, page 61).

Toomey’s production of parade floats started in 1878 for the Veiled Prophets procession. His unique floats became a staple for Mardi Gras in New Orleans, the Veiled Prophets in St. Louis, and Carnivals across the country. Illuminated parades emerged appeared all over the country, including Milwaukee, Wisconsin; Springfield, Illinois; El Paso, Texas; and Wichita, Kansas. The Wichita Beacon provided detailed accounts of the electric pageant in that city, giving us great insight into the design and construction of Toomey’s floats.

In 1900, the “Wichita Beacon” included an article concerning the City’s contracting P. J. Toomey to design and manufacture the electric pageant for the upcoming Wichita Carnival and Fall Festival (14 July 1900, page 5).

Here is the wonderful description of Toomey’s artistic contribution to the upcoming Wichita Carnival and Fall Festival in 1900; the event was scheduled for October 1-6.

“Contract Closed.

Electrical Pageant Will Be Given Carnival Week.

Attractions for Midway About Secured.

The Wichita Carnival and Fall Festival association yesterday closed a contract with P. J. Toomey of St. Louis for the production of his electrical pageant in this city on Friday night during street fair week. The floats, twelve in number, will be built at once by the Noxon-Toomey Scenic Art Company of St. Louis.

Sixty-five costumed characters will be required on the floats, besides 120 attendants on foot. The floats will be lighted by incandescent lamps, 150 being placed on each float. The floats will be mounted on street car trucks and run over the lines of the street railway company. The parade will be seen on Douglas and Main streets and will counter march to the starting place.

Outside of the regular scenic floats, four floats will be provided for bands. The parade will be brilliantly lighted by colored lights and the costuming of the attendants will be elaborate. The floats will be run about 200 feet apart.”

The carnival association also contracted three searchlights to be used to illuminate the streets at night, besides the other electrical decorations. A Carnival queen was be crowned with a very elaborate ceremony. “The Anthony Bulletin,” reported that colored calcium flashes would be thrown on the scenic effects and upon a chorus of one hundred female voices, dressed in white and arranged to show a red, white and blue scene” (The Anthony Bulletin, Anthony, Kansas, 6 Sept, 1900, page 4). The state of Kansas was billed as the “Italy of America,” and Wichita “the Peerless Princess of the Plains” (The Kingman Journal, Kingman, Kansas, 21 September 1900, page 5).

On October 5, 1900, the “Wichita Beacon” credited Toomey with designing and constructing the floats in St. Louis, working on them “with great care and painstaking for several months” (5 Oct. 1900, page 5). Their cost for the twelve floats and their transportation over the Missouri Pacific railroad was reported to be several thousand dollars. Each float, because of its size, occupied a special flat car. The article continued, “The street car company has arranged four cars to accommodate the various bands that will furnish the music for the occasion and these also will be trimmed and will be a feature of the grand pageant. The latter will form on Douglas, just east of the Rock Island track and at eight o’clock sharp will move west on Douglas to Main, north to Oak street and, returning over the same route, will end at the starting point.

The electricity will be supplied by the street car trolley wires. The various persons who will participate in the affair will be tastefully costumed to represent the characters they assume for the occasion in the great variety of subjects.”

Tomorrow, I will include an article that described each individual float designed by Toomey during 1900. There are amazing!

To be continued…

Part 464: Patrick J. Toomey and the Majestic Theatre in Austin

P. J. Toomey’s only son wrote a book about his maternal genealogy and German heritage titled, “The Vogts von Berg in Düsseldorf and American” (200 copies printed for private distribution, St. Louis, Missouri, 1921). He dedicated the book to his mother Mrs. Mary Vogt Toomey.

Mary Anna Vogt was born in Iowa City on December 20, 1859. She was one of seven children born to Dr. William Vogt and Mary O’Connor. Her father was born in Düsseldorf in 1816, studying medicine in Heidelberg before working as a ship’s surgeon. He later practiced among the German intellectuals in Belleville, Illinois before being invited by the Governor of Iowa to visit Iowa City, where he later married Mary O’Connor of that city in 1849. The couple had seven children: Carl Albert (b. 1852), Catherine Hannora (b. 1853), William Julius, Mary Anna (b. 1854), Augustine (b. 1855), James Francis (b. 1858), Caroline (b. 1861), and Edith (b. 1887).

P. J. Toomey’s wife, Mary graduated from St. Agatha’s Seminary in 1874 and from Mount St. Joseph’s College in 1878. She taught English at Iowa City High School between 1880 and 1884. On October 5, 1886, Marry married Patrick Joseph Toomey. Although the couple had two children, Thomas Noxon (b. 1893) and Mary Wilhelmina (1903-1904), only their son survived infancy. For many years, Mary was the Corresponding Secretary, General Council, for the Daughters of the Queen of Heaven. From 1908-1909, she studied in Paris. It was during this time, that her husband sent postcards to Thomas Moses at Sosman & Landis. Mary was presented to Pope Leo XIII, and to Pope Pius X. She was extremely active in charitable and civic work since shortly after her marriage to Toomey.

There are several connections between the Toomey family and the Moses family, possibly having contributed to their continued friendship over the decades. First of all, P. J. Toomey and Mary Vogt were approximately the same age as Thomas G. Moses and Ella Robbins. Thomas and Ella married in 1878, whereas P. J. and Mary married in 1886. In some ways they shared similar family circumstances; Thomas Moses’ father was once a ship’s captain while Mary Vogt’s father was once a ship’s surgeon. Both Toomey and Moses came to the United States as infants, with Toomey born in Limerick, Ireland, and Moses born in port at Liverpool. Each entered scene painting at approximately the same age as an apprentice. Whereas Toomey was apprenticed to Thomas C. Noxon, Moses was apprenticed to Lou Malmsha at McVickers and worked his way up the ranks at Sosman & Landis; both studied with mid-nineteenth-century immigrants. Their artistic mentors passed along a similar approach to scenic art, using opaque colors common to European and Scandinavian immigrants, versus the English tradition of glazing (see past installments 387 and 411).

Mary Vogt’s sister Caroline married a lawyer, George Benjamin Hufford, on April 20, 1905 in Leavenworth, Kansas; the couple moved to Austin, Texas where Hufford was a U. S. Commissioner. They lived in Evergreen Heights in Austin. There is a reason why I am telling this backstory as it has to do with the Majestic Theatre in Austin, Texas.

When I was in Austin this month for the League of Historic American Theaters conference, the closing party was held at the Paramount Theatre, originally established as the Majestic Theatre. During the welcome and brief presentation by the staff, the fire curtain was lowered. It was original to Majestic Theatre when it was built in 1915. As I looked at the painted curtain, complete with blue draperies, ornate frame, woodland stream, and tassels at the bottom, something looked familiar.

It was the tassel painting that made me think of a Noxon & Toomey drop design that I encountered in 2016. The unique tassels at the bottom of the composition jogged my memory.

Sure enough, the fire curtain composition was signed “Toomey & Volland” of St. Louis. I had started to explore the stylistic tendencies of each artist a few years ago, and I believed that this curtain was by Toomey, not Volland. It is possible that it could have been done by any of the studio artists at the time, but it had a much older feel about it – a throwback, one could say.

Sadly, it was lit with oversaturated colors and some of the painting techniques were difficult to discern, as overly saturated lighting flattens the dimension of the scenic illusion and skews the entire composition. Regardless, it was obvious that this composition was painted by an artist from an earlier generation – the generation of Thomas G. Moses. I believe that this is the work of the senior partner in the painting firm at the time – Toomey. Toomey has entered my blog on occasion, as he was a good friend of Moses.

But here is where it gets interesting and loops back to the Paramount theatre. As I was researching Toomey & Volland, I came across the reference that Toomey’s sister-in-law who settled in Austin, Texas.

Her husband was a City Commissioner. Furthermore, for the opening of the Majestic (later Paramount), members of the City Commission and their families were invited as guests for one of the first box parties. The Majestic was managed by Austin F. Gale Wallace, and before the fire curtain rose for the first time, Wallace gave “a curtain speech,” introducing the Mayor and members of the City Commission and then acknowledging those who had been instrumental in “giving Austin this large, modern, up-to-date amusement house – ‘the last word in theater architecture,’ said Mayor Woolridge” (The Austin American, 12 Oct. 1915, page 3). I have yet to find any credit being given to Toomey & Volland, or any other contractors beyond the architectural firm for their contributions.

To be continued…

Here is the link to Thomas Noxon Toomey’s book: https://books.google.com/books?id=RudFAQAAMAAJ&pg=PA18&lpg=PA18&dq=Mary+Vogt+Hufford&source=bl&ots=bf1krOTCqC&sig=oyd3beloyo3kZsFMvXnhVhP2ajo&hl=en&sa=X&ved=2ahUKEwiP35WT_cTcAhWMx4MKHaHGA1wQ6AEwAHoECAEQAQ#v=onepage&q&f=false

Part 463: Patrick J. Toomey of Noxon & Toomey

In 1896, the St. Louis Post-Dispatch featured Patrick J. Toomey, including a brief biography and illustration. The article reported, “Patrick J. Toomey was born in Limerick, Ireland in 1854 and came to St. Louis with his parents as an infant. He received his education at the Christian Brothers’ College and in the public schools. His first employment was in the retail grocery trade. After a few years he found this work uncongenial and apprenticed himself to scenic art under Mr. Thomas C. Noxon at Deagle’s Varieties. With his tutor, four years later, he formed the partnership of Noxon & Toomey, continuing in the same line ever since. In connection with Mr. Noxon, Mr. Toomey has been the scenic artist at the Olympic Theater and Grand Opera House for over twenty years. In 1886, he married Miss May Vogt, a daughter of Dr. Wm. Vogt of Iowa City, Iowa” (St. Louis Post-Dispatch, 2 April, 1896). The couple’s only child was named Noxon Toomey, who grew up to become a doctor.

I was curious about the venue where Toomey apprenticed himself to Noxon – Deagle’s Variety Theater. George Deagle’s Varieties Theater introduced musical comedy to St. Louis with “The Black Crook” in 1867 and briefly took the lead as one of St. Louis’ five theaters at that time. Various documents placed the location of the venue at Sixth Street near Locust. Little is known of Deagle’s Varieties Theater, and there are only a handful of advertisements for shows from 1876. Interestingly, an article from 1882 mentions that Deagle managed the only variety and spectacular house in pre-Civil War St Louis “then located where the present Grand Opera House now stands” (St. Louis Post-Dispatchm 20 March 1882, page 5). It appears that Deagle managed the St. Louis Opera House from 1865 until 1872, when he set his sites on another venue. In 1872 he rented the Olympic Theatre of St. Louis for a production of “Uncle Tom’s Cabin.”

The Buffalo Courier reported that George Deagle (1822-1908) was “the oldest theatrical manager in the country, who many years ago owned the Deagle Varieties Theater” (Buffalo Courier 14 Oct. 1900, page 17). Deagle later managed the People’s Theatre in Chicago too.

As an interesting side note, his granddaughter Ann Murdock took to the stage in 1908 at the age of 17, making her debut in “The Offenders.” She noted that her grandfather, George Deagle, was the manager of Deagles Varieties in St. Louis fifty years ago (New York Times 29 Oct. 1908, page 9), placing the establishment’s origin in the 1850s. Ann Murdock’s mother, Terese Deagle was also an actress, and one of the first leading women employed by Charles Frohman. Her father was a manager for many years at the American Theatrical Exchange (The St. Louis Post-Dispatch 12 June 1921, page 3). I became fascinated with this theatre family, but back to Toomey.

In 1922, the St. Louis Post-Dispatch placed Toomey’s birthdate in 1851 and reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14). Toomey was best known, however, for his creation of the first floats for the Veiled Prophet’s parade and continued this sort of work for 25 years, only giving it up shortly before his death. Toomey was famed as an “electrical float builder” known also for his work at the Mardi Gras parade in New Orleans and the Milwaukee Carnival (Wichita Daily Eagle, 13 July 1900, page 6). He did most of the scene painting for the old theatres in St. Louis, including Pope’s the Olympic and the Century. At one time, he also painted for the Knickerbocker Theatre in New York City.

To be continued…

Part 462: Thomas C. Noxon of Noxon & Toomey

 The founding dates for Noxon and Toomey seem to vary when one looks at a variety of printed material and public records. Some sources place the firm starting in 1867, while others place the establishment around 1869. The firm lasted until Noxon’s passing in 1898.

Thomas C. Noxon was an extremely well-known scenic artist during the nineteenth century. Born in Montreal, Canada, during 1829, he came to the United States as a child. Initially living in Zanesville and in Millerburg, Ohio, Noxon attended public schools. For a time he lived in Detroit, and that was where he entered the theatrical profession. At the age of sixteen in 1845, he moved to St. Louis and studied art.

Noxon was married twice. He married his first wife, Ann Hazzard, on April 14, 1853 when he was twenty-four years old. The couple had three daughters, but only two were living at the time of his death, Mrs. Samuel Wilson and Mrs. Harry Belden, both of whom acted on the stage. The daughter that predeceased Noxon, Libbie, was also an actress, performing as Blosson in Ben Maginely’s “Square Man” during 1882. She passed away in 1894 after a long illness (St. Louis Post-Dispatch, 27 May 1894, page 31). A “Miss Noxon, the daughter of Thomas C. Noxon,” also performed with the Olympic stock company and reported to be married to the comedian Harry Harwood in 1883; this may have been Libbie (St. Louis Post-Dispatch, 1 Sept. 1883, page 8). In 1885, Noxon married for a second time to a “Mrs. Selvers.”

There are a few interesting tidbits that I uncovered about this somewhat evasive artist. In 1880, Noxon was working with the stage machinist Mr. S. I. Gates to create the scenery for “Cymbeline” at the Olympic (St. Louis Post-Dispatch, 5 Jan. 1880, page 8). In 1882, he was mentioned as the scenic artist of the Grand Opera House. In 1884, Noxon was credited as being both the scenic artist for the Grand Opera House and Olympic Theaters in St. Louis (St. Louis Post-Dispatch, 21 Jan. 1884, page 8).

Later, Noxon’s business partner P. J. Toomey would remain at the Olympic, using the studio room for Toomey & Volland. This space was destroyed by fire in 1922. In 1884, the St. Louis Post-Dispatch reported, “Mr. Noxon stands in front rank of curtain and scene painters, and for special features like Mardi Gras and Veiled Prophet pageants, is recognized throughout the Mississippi Valley as the most competent man in the profession” (St. Louis Post-Dispatch, 21 Jan. 1884, page 8). At the time of his passing in 1898, the “Dramatic Mirror” reported, “His name appears on the corner of theatrical curtains in almost every large city in the country, and is also seen in the theatres of Europe” (2 July 1898, page 6).

Noxon worked as both a scenic artist and a decorative painter, heading four theatrical painting firms during his life: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey.

My research suggests that Noxon joined forces with Patrick Joseph Toomey to establish the Noxon & Toomey Painting Studio of St. Louis between 1867 and 1869. Noxon was the senior partner and is reported to have managed the studio from its inception until his illness in 1896. This is where history gets a bit fuzzy around the edges. The business remained opened after Albert left Noxon & Toomey in 1891, but Toomey also established the Knox & Toomey Scenic Art Company at that same time. Knox & Toomey also specialized in float construction and electric pageant wagons, the same kind that Noxon & Toomey specialized in since 1878. Their creations dominated the pageant market all over the country.

Like many men of his generation, Noxon joined a variety of social clubs and fraternal organization. In addition to being a prominent member of several Masonic orders, he was also a charter member for the Benevolent and Protected Order of Elks. The Elks were an American fraternal order founded during 1868 in New York City. It was initially a social club for minstrel show performers, called the “Jolly Corks.” Some historical records suggest that the group was formed as a private club to elude laws governing the restrictive hours for public taverns. After a member’s death that left his wife and children without funds, the organization took on a more charitable mission.

Noxon passed away from nephritis, on June 20, 1898, after a long illness. His remains are interred in “Elks Rest,” the Elks section of Bellfontaine Cemetery in St. Louis (block 70, lot 1043). At the time of his death, Noxon was living at 2010 Rutger Street. The St. Louis Post-Dispatch reported, “Mr. Noxon for years had been considered one of the foremost scenic painters in the country and his work can be seen in almost every prominent theater in the United States” (21 June 1898, page 7). When he passed away, Toomey was in Wisconsin, superintending Milwaukee Carnival Floats. The “Weekly Wisconsin” reported, “Mr. Toomey received a telegram this morning announcing his partner’s death, and at once arranged to leave for St. Louis to attend the funeral. ‘Mr. Noxon was the greatest scenic artist this country has produced,’ said Mr. Toomey. ‘He was 69 years of age and had done work for the leading theaters of the country, besides what he did in way of pageantry. He leaves a wife and two daughters, one of whom is on the stage. Mr. Noxon had been ill for a year and a half, and had been confined to his bed for the last six months” (The Weekly Wisconsin, 25 June 1898, page 4).

Toomey’s only child was named Noxon Toomey.

To be continued…

Part 461: Changing Partners

In 1903, Moses was studying art with R. M. Shurtleff, preparing to join the Salmagundi Club, and working on a variety of both indoor and outdoor spectacles. He lived in Mount Vernon, New York, but still traveled quite when touring shows opened in other cities. During these travels, his business partner Hamilton “held down the fort” at their Broadway Theatre offices in New York.

Moses & Hamilton was Moses’ his third partnership and it would end in 1904. In 1887 Moses entered into business with a scenic artist and an art dealer to form Burridge, Moses & Louderback (see past installment 132). By 1895 Moses tried his hand at both theatrical management and a scenic studio, establishing the short-lived team of Moses & McDonald (see past installment 336). By 1901, Moses partnered with Hamilton, forming Moses & Hamilton. My research suggests that this “changing partners” was a common occurrence at the time. The country was large, but the word of successful scenic artists was relatively small and partnerships were necessary to attain larger and more profitable projects. This period of time and the world of scenic art made me think of the lyrics from Patti Page’s song “Changing Partners”

We were waltzing together to a dreamy melody
When they called out “change partners”
And you waltzed away from me

(Here is the link to the song, if you have no idea what I am talking about: https://www.youtube.com/watch?v=ARWBstJHBe8)

The scenic art scene during the late nineteenth and early twentieth century was like one big dance; artists tried to successfully maneuver their way across the dance floor, always in search of the best partner. They were simply trying to find that perfect fit and who might ultimately increase their prospects. If they had found the perfect partner at one time, they would try to return; I think of Sosman & Landis repeatedly drawing Moses back into their studio.

Moses’ memoirs trace his interactions with scenic artists during the nineteenth and twentieth centuries, including Patrick J. Toomey of Toomey & Volland scenic studio in St. Louis, Missouri. For years, Moses would always stop by the studio when he was in town and visit with his good friend “Toomey.” Likewise, Toomey would visit Moses and send him postcards from abroad. Scenic artists needed to maintain a close-knit network so that they could not only could keep tabs on their competition, but also maintain a talent pool for larger projects.

These connections were crucial, facilitating potential alliances for upcoming work. Regional alliances were also made, such as that between Sosman & Landis and their affiliate New York Studios. The stylistic interpretation could vary from artist to artist, but the overall approach to the production of painted scenery for the stage remained relatively consistent until approximately the 1920s. At the time the theatrical industry promoted an artistic standard that was founded on established painting techniques developed in the late 17^th and 18^th centuries. Scenic artists created paintings intended to be viewed from a distance, a unique skill that wasn’t intuitive to many fine artists. Scenic art was primarily an apprenticed trade, supported by an individual’s fine art training.

The first decade of the twentieth century is what I consider the golden age of American scenic art. Scenic artists produced successful illusions, just as their predecessors, but had the advantage of electricity. In other words, they had more to work with as technological innovation flooded the theater industry. This greatest strength would later become the scenic art’s greatest weakness. There is a notable shift in American scenic art as electricity, projections, and moving pictures continue to shape the artistic landscape of the entertainment industry. The studios were working with one foot on a firm foundation and another foot precariously placed on a slippery rock. Many studios would quickly ascend, such as Sosman and Landis, but only a few would last for more than a few years. One such company was Toomey & Volland of St. Louis.

Toomey & Volland evolved from an earlier scenic art partnership called Noxon & Toomey. Thomas C. Noxon and Patrick Joseph Toomey joined forces in approximately 1867. Noxon was the firm’s first president and senior partner in the company.

The firm expanded in 1881 and changed its name to Noxon, Albert & Toomey. The famed Ernest Albert was added to the company, while Toomey was reported to be “the itinerant member of the firm” (Richmond Dispatch, 24 Jan 1886, page 3). For more information about Albert, see past installments 131, 133-139, 145, 154, 179, 231, 244 and 248. The company ran regional offices with studios in St. Louis, Missouri, Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade, but Albert eventually returned to Chicago to partner with Walter Burridge and Oliver Dennett Grover, forming Albert, Grover & Burridge. 1891, the three constructed an innovative scenic studio with twenty paint frames and a display area to fully light and stage completed sets for clients. Although there was much promise, the firm went bankrupt in two years.

Back to St. Louis and Toomey’s activities.

When Noxon, Albert & Toomey ended, Toomey formed another partnership in 1892 – the Knox & Toomey Scenic Art Company. Toomey partnered with George Knox, a stage carpenter; the two specialized in float construction and electric pageant wagons. Float for parades had remained a specialty of Toomey’s since 1878. In fact Toomey dominated the float market in St. Louis for the Veiled Profit Procession and ball. This event was St. Louis’ version of the Mardi Gras parade and will be covered in another installment.

By 1901, Toomey switched partners – again. However this would be for the last time. His new business partner was a scenic artist, one who had previously worked at Noxon & Toomey – Hugo R. Volland. Volland migrated from Grossbremback, Germany, and soon found work at Noxon & Toomey as the company’s secretary. He would be a major Masonic asset major contributor to the St. Louis Scottish Rite for both the 1902 and 1924 buildings.

Like Sosman & Landis, Toomey & Volland jumped on the Masonic scenery and stage machinery bandwagon. From 1901 to 1904 their production of Scottish Rite scenery installations included St. Louis, Missouri; Butte, Montana; Joplin, Missouri; Rochester, New York; and Toledo, Ohio. Likewise, Sosman & Landis created Scottish Rite collections for Salina, Kansas; Little Rock, Arkansas; Fort Scott, Kansas; Chicago, Illinois; and Duluth, Minnesota, during this same time. Just as the original 1902 Sosman & Landis scenery for Little Rock is still used in Pasadena, California, so is the original 1902 Toomey & Volland scenery for Joplin still used in Deadwood, South Dakota. These two collections extremely significant within the framework of Scottish Rite history for the Southern Jurisdiction.

Both scenic studios would remain major players in the scene painting industry for the first two decades of the twentieth-century, having a lasting impact on many future generations of artists. Tomorrow, I will star to look at the scenic artist, and good friend of Moses, Toomey.

To be continued…

Part 460: William F. Hamilton and “As the Sun Went Down” 

As I was exploring the painting projects of Moses & Hamilton, I discovered an interesting project that Will Hamilton worked on in 1909. It appeared in my search as Hamilton’s name was followed by “formerly of the firm Moses & Hamilton.” I found it interesting that a newspaper would mention a previous business affiliation five years after the fact. It suggests that Moses’ name carried a lot of weight, garnering respect, even years later.

During 1909 Hamilton was working on George D. Baker’s play “As the Sun Went Down.” The action of the play concerns the stirring events in the lives of “rough but real folks in some faraway western mining gulch” (Buffalo Evening News, 7 Sept. 1909. Page 50). The plot involved a young minister, an eastern “tenderfoot,” and “lunger.” New word for me; “lunger” was a derogatory term for an individual suffering from tuberculosis. The three charaters are thrust into the “rude social organization of this primitive and uncouth community” (Fort Scott Daily Tribune and Fort Scott Daily Monitor, 28 Dec. 1909, page 8). Enter,“Col. Billy,” a woman “with a record and a beautiful, daring and good heart.” Newspapers compared this new western melodrama to ‘The Great Divide” and “Girl of the Golden West” with scenic settings full of realism (Buffalo Courier, 7 Sept. 1909, page 7).

Ten years later, it was adapted by Baker for a film version. Directed by W. Mason Hopper, advertisements reported, “Not since Bret Harte wrote ‘Outcasts of Poker Flat’ has there been given to fiction or the drama a story so picturesque, so unreservedly different and unconventional as this, the newest Metro All Star Series Production. It’s the story of a bad girl who is bigger and better and finer than most of the girls you ever saw” (The Moving Picture World, 15 Feb. 1919). Metro’s “As the Sun Went Down” was released on February 10, 1919.

The earlier five-act play toured with the Arthur C. Aiston Company, during 1909 to 1910. Other Aiston touring productions included “Tennessee’s Pardner,” “At the Old Cross Roads” and “Shadows on the Hearth.” Aiston’s company was headed by Estha Williams as “Col. Billy.” W. A. Whitecar played the role of the gambler Tarantula, “the ba’ad man of the play,” whose villainous career ended with a venomous snakebite. William Sexton played “Pizen Ike, the worst man in Rattlesnake Gulch” who is shot to death in a duel. Phil Connor played the role of “Piety Pete, the funmaking storekeeper,” while Flora Byam played “Sal Sue,” also nicknamed “Cyclone” by “Fare Bill” (Buffalo Courier, 7 Sept. 1909, page 7). The names just made me giggle.

The show’s painted settings were well received; the “Star-Gazette” reported “The production is an unusually elaborate one for a popular-priced theater, a large number of special scenic effects being provided” (Elmira, NY, 1 Sept. 1909, page 2). The scenery design was credited to Lee-Lash Scenic Co. with the painting lead by Hamilton. “The Iola Daily Register And Evening News” reported, “The scenery is by the Lee-Lash Scenic company of New York and has been especially produced under the personal direction of W. F. Hamilton, formerly of Moses & Hamilton” (Iola, Kansas, 4 Jan. 1910, page 4). Similarly, “The Capital Journal” reported, “As the production is carried complete, it is necessary to have a special baggage car for the transportation of the companies’ scenery and properties” (Salem, Oregon, 8 Jan. 1910, page 9). “The production which is a very elaborate one, comes from the best artists of the Lee-Lash Scenic Company of New York city, each scene gotten out under the personal direction of W. F. Hamilton, formerly of the firm of Moses & Hamilton” (The Evening Statesman, Walla Walla, WA, 31 Jan. 1910, page 7).

The mention of William F. Hamilton’s work at the Lee Lash Studios really peaked my interest, and caused me to recall a clipping in Thomas Moses’ scrapbook. The newspaper article depicted Moses painting on a Lee Lash studio frame. It was possible that Moses was brought in to supervise the painting on the production, just like Hamilton. Lash was known for hiring a variety of artists to work with his paint staff and supervise various projects. This was a unique quality of the scenic art network at the turn of the twentieth century. Artists worked in one studio and then another, quickly forming partnerships that would last for only a few years. We don’t know if it was artistic temperaments or simple opportunities at the time that drove two artistic join forces. It was the artistic culture during a time when work was plentiful.

To be continued…

Part 459: William F. Hamilton, Blood Brother to the Nez Perce and Yakima

While exploring the life of William F. Hamilton, I discovered an interesting newspaper article that provided some insight into this evasive scenic artist. During 1924, George Kendrick submitted a letter to the local newspaper that he had received from his cousin Bill Hamilton. I was surprised that the “Will” who Thomas G. Moses spoke of was known as “Bill” to his family.

“The News-Herald” reported, “When the Hamilton family removed to New Jersey some 30 years ago, Will was a scenic artist, and later did he work on a “white city” in a park in Pittsburgh. He has been in the show business for all these years, his particular line now being the furnishing of special entertainment features” (Franklin, PA, 27 Dec. 1924).   Here is the letter submitted by Kendrick to the newspaper:

“Dear Cousin George:

I read in a late issue of The Billboard that Franklin was soon to have another home-coming celebration, and it reminded me of the fact that for many years I have rather lost track of both friends and relatives in that neck of the woods. While I feel ‘just as young as I used to be,’ I am hep to the fact that I am no longer in the sophomore class, and a notice of George Moffett’s death which came to me a short time ago made me think that some of my friends might be crossing the Great Divide at any time and I would possibly not know of it.

When I left New York four years ago on a hurry up trip to Chicago I thought Broadway would worry along without me for about six weeks. I have never been back, but, from general reports, Broadway has managed to survive the shock. As for myself, I have never enjoyed life more than I have since I settled in California and became a “native son.” My work chases me over the landscape from Canada to Mexico, but I manage to get home often enough to keep fairly well acquainted with my family, and our collie dog has never really bitten me when I have returned from a long trip, and he is a very good watchdog at that.

“Last year, while in the Northwest, I was adopted into two tribes of ‘honest to god’ Indians, the Nez Perce and Yakima. The ceremony of making me a blood brother included the presentation of wonderful old specimens of Indian handicraft, and for several days I was feasted in the tepees of various chiefs, on which occasions I was again given presents which white men could not buy. I have always been a ‘nut’ on Indian relics and that experience finished the job. Before I left I added to my already extensive collection to such an extent that I now have one of the best collections on the Coast. Get letters from all parts of the country from those who have one or more pieces to sell or trade. Went into one of the clubs in Spokane after a trip to one of the reservations. Having motored 150 miles over the mountain I was too tired and hungry to change my clothes before dinner. Joined several friends at one of the round tables. Shortly after I sat down an old-timer who had been in the Modoc war sniffed several times and finally said: “I smell Indian.” I had carried the odor of the wood fires of the tepees in my clothes. The joke was on me and it cost me plenty before I had furnished enough cigars (and other aromas) to kill the smell of Indian to the satisfaction of the bunch.

“Our home is on the King’s Highway, about 16 miles from San Francisco. It is built around a patio in the old Spanish style, with rose vines on all sides and a garden with all sorts of fruit trees in the back – the kind of a place I dreamed of all my life, but never hoped to own. The eternal sunshine is all right, but I miss the frost and falling leaves and welcome a trip to come places where I can see the snow fly. Our cousins, Fanny and Kate, are here in California, but I have not seen much of them, as they live in Los Angeles most of the time and I do not go there often. [The Fanny and Kate “Bill” speaks of are Mrs. Fred H. Hillman and Mrs. J. E. McClintock, sisters of George Moffett]

Well, old top, it is getting late and I am old enough to want my full quota of sleep, especially after the effort required to write a letter on this old machine. Could find a lot to say if I could stand the strain, but, having given you a fair idea of where I am and what I am doing, I will save the rest until I know whether this reaches you or not. I am hoping that this will get a rise out of you and that I may hear how time and good fortune has treated you during these many years; also, how the rest of your family is faring. Is your mother still living and John and the girls? Give them my best wishes. Hoping you are well, happy, and prosperous and that I may have a line to prove it, good night.

Sincerely, Cousin Bill”

To be continued…

Part 458: William F. Hamilton and the Shrine Circus

By 1921, Thomas G. Moses’ former business partner, Will Hamilton, was living in San Francisco, California. Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s and remained their for over two decades. Like many scenic artists, he worked all over the country on a variety of projects. He would later relocate to San Francisco where one of his more interesting projects would involve the Oakland Shrine circus. In the publication “Variety,” there was an article titled, “Hamilton’s Special Events” where he was credited with creating “an abundance for special scenery” for the Shrine (Vol. IXIV, No. 11. Nov. 4, 1921).

The following year, “The Oakland Tribune” included the article “Hamilton Praised.” It reported that Hamilton was again the director for the Oakland Shrine Circus. He was working on the project with stage managers Captain E. J. Parish and Clarence E. Head; chairman of the entertainment committee Lawrence E. Lund; and Potentate Thomas W. Norris (28 April 1922, page 15). The article reported, “W. F. Hamilton, the director, is given credit for his achievement by members of the Shrine.” In 1923 Hamilton was still the director for the Shrine Circus, and once again in charge of the “special preparations” (Oakland Tribune 13 April 1923, page).

I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine. I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge, he continues his education in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine. The Shrine was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of “learning” in the Scottish Rite and York Rite, immediately jettisoning into the Shrine. I have very mixed feelings about this; understanding the need to retain membership numbers, yet abandoning the “work” aspect before the reward of “play.”

As I was looking at Shrine circus programs, I came across a very concise history of the organization in a 1950 issue. It supplied the usual historical background pertaining to the origin of the Shrine. It explained that the Shrine “has for its allegorical background an order instituted by Kalif Alee, a Mohammedan. The order was to further civilization and law and also to promote religious tolerance among cultured men of all beliefs and nations.” The article further explained that William “Billy” J. Florence, a well-traveled actor, was initiated into an Order on one of his tours and the ceremony prompted him to establish an order in America. He wanted to establish “a place where a select group of men could commune and relax and enjoy good fellowship.” Dr. Walter M. Fleming wrote the ritual in collaboration with Florence for this new Masonic organization. Initially membership was limited to Scottish Rite Masons and Knights Templar, with the first meeting being held on June 16, 1871 in a the Masonic Hall, located on East Twenty-third Street in New York City. They formally organized a “Temple of the Nobles of the Mystic Shrine” which they named their “Mecca Temple, the Mother Temple of the Mystic Shrine.” An Imperial Council was later created in 1876, with Fleming becoming the first Imperial Potentate from 1876 to 1886.

The 1950 Shrine Circus program also included a section on “The Purpose of the Shrine.” This may help others understand the organization a bit more. Here it is in its entirety:

“The Ancient Arabic Order of the Nobles of the Mystic Shrine has for its mission the union of the York and Scottish Rite of Freemasonry. Here Masons from both Rites meet on a common level or playground; but it is not a playground merely – it teaches by its tenets and obligations some of the highest ideals of life.

It’s teachings carry a dignified mien that lifts the Masons above the sordid transitory things of life. It transports the mental and spiritual Mason away from the turmoil and strife of earthly things and atunes his spiritual being in harmony with the universe and the music of the spheres. It gives him a glimpse of the great white light of life and Masonry here and hereafter. It teaches some the grandest lessons given for the guidance of a man along life’s journey that he who has listening ears and seeing eyes may learn the great truths taught by speculative Masonry. It does not teach, and in fact, it frowns upon any and all things that should not characterize a gentleman, a man or a Mason. No rough or uncouth act has a place on its program, and any overt act not in keeping with the teachings and spirit of Masonry does violence to its obligation and reflects discredit upon the spirit of the Order, but more directly upon the doer thereof.

The Mystic Shrine embraces all creeds that recognize and acknowledge Deity as supreme. It has for its prime mission unfoldment and evolution. It works begin in the human heart and mind in the morning of creation. It gives a new impetus at the altar, giving the individual a higher concept of life and its duties toward self, home, country, and last but not least toward the higher part or principle in the human heart that elevates man above the beast of the field and makes him a little lower than the angels.”

It can be a wonderful organization with fun-loving men, but there have always been those few members who took it a step too far; the fun and games turned malicious. In certain areas the initiations, as well as the running of the organization, fell under the shadow of a dark cloud. Once, while restoring a drop in Virginia, a few Masons explained that part of their Shrine initiation involved being chased through the streets of Richmond with cattle prods. In Oklahoma, another Mason showed me an early “Shrine Strength-testing Machine.” The device was used for “playful harm.” Each initiate was told they were going to measure his physical strength. When they squeezed the handles of the machine, it triggered a board to raise up and hit the Mason square between his legs. There are many more stories that have been shared with me over the years that I am choosing not to include, as they all cast an unkind light on the organization as a whole.

However, when we ponder why some high school and fraternity hazing ceremonies result in harm, or even death, we just need to look at our own past. A fun initiation can suddenly take a wrong turn, resulting in injury; much depends on the leadership. Sometimes a bully dominates the playground.

To be continued…

Part 457: William F. Hamilton and an Evolving Form of Art

In 1914, W. F. Hamilton’s name appears in “The Brooklyn Daily Eagle” (10 May 1914, page 48). The article reported that Hamilton “painted several thousand feet of profile and hanging effects for a carnival.” This was for the big Actors Fair. The Actors Fair was produced by an organization of players who banded together as the “White Rats.” Their club was located on West 46th Street in Manhattan. The Actors Fair ran for eighty days and included burlesque, vaudeville, circus, sideshow, a medicine troupe, musical comedy, minstrel shows and grand opera. W. F. Hamilton’s painted effects began at the entrance where he created a miniature replica of the average one-night stand town hall. By this time, Hamilton was still living in New Jersey, but he was working all over the country.

In 1918, Hamilton met up with Moses again when he was superintending work for Labor Day floats in San Francisco. Side note: this was for the same parade that the Carpenters Union’s did not include a float as it was part of their Patriotic Act. “The San Pedro News Pilot” reported, “the carpenters turned out in goodly numbers, wearing their white-bib-bed overalls, a big sign being prominently displayed in their division, which read: “Instead of constructing a float the carpenters have donated $25 to the Red Cross” (Vol. 5, No. 284, 4 Sept. 1914, page 2). Much of the San Francisco Labor Day Parade of 1918 focused on labor unions and worker’s rights. There were eighty-seven unions participating in the parade that day, spread out over seven divisions – each with separate Marshals! Some unions who lined up in the first division of the parade were the Riggers, Machinists, Draftsman and Painter’s unions, while the second division included the Theatrical Federation, Stage Employees, Moving-Picture Operators, Bill Posters and Musicians. The same article in “The San Pedro News Pilot,” continued, “A large and gaily decorated palette, which entirely covered an automobile, constituted the feature of the Painter’s Union float, followed by members of the union.”

This is a time when scenic artists and painters were moving in droves to California, following a variety of projects. You can see the shift of scenic artists throughout the country at various times during the late nineteenth and twentieth centuries. After the 1871 fire, Chicago draws many of the artists from the eastern United States, as there were so many opportunities during the rebuilding and expansion of the city. During the late 1890s, New York became another magnet for scenic artists as theater production increased and Coney Island was developed. A third shift occurred during the post-World War I era as the West Coast underwent a dramatic construction boom and the movie industry expanded throughout the region, offering a variety of artistic opportunities. In each instance, artists were brought together and the traditional aesthetic associated with the performing arts is further developed; scenic illusion adopted new effects. Obviously, I am speaking of general artistic shifts and divisions within the theatre industry, as not all artists would have implemented new styles and techniques. Some would hold onto the popular techniques from a previous era. As new forms of entertainment were developed, such as film, scenic painting adapted to each new aesthetic.

The same thing should be happening now – scenic art adapting to accommodate the increased use of digital media and printed images. Here are my thoughts on the matter of increased digital printing, even though my life is steeped in history and traditional scene painting techniques. Please, take it for what it’s worth. Scenic art has always been so much more than the simple act of painting a picture, or replicating a design; it is the continued development of scenic illusion for a performance-based art form. Applied arts programs are following the standard development of scenic art traditions – some theatre arts programs are not. It is a benefit to the scenic artist to not only master pictorial painting and historical techniques, but also to remain knowledgeable about new paint products and digital possibilities. Just like the scenic artists from the late 19th century, you need to familiarize yourself with all of the possibilities to succeed.

There has not been a single painting project that I have not adapted some form of historical painting technique, as they are often the most efficient way to paint both two-dimensional and three-dimensional objects. A few weeks ago, I painted a zombie grinder for Comic Con 2018 (San Diego). For my part of the project, I used the same approach that I have repeatedly incorporated into historical replicas over the years. Why? It increased productivity. In short, it was the fastest technique that I could pull from my “tool kit.” Understanding and practicing historical techniques is always a great asset when completing any painting project, as it helps with seeing the forest for the trees.

To be continued…

Part 456: William F. Hamilton, of Moses & Hamilton

“Will” Hamilton partnered with “Tom” Moses in 1901. The New York partnership lasted until 1904 when Moses returned to Chicago to lead the painting at the Sosman & Landis studio; Landis’ poor health caused him to leave the studio, resulting in Sosman assuming many of the administrative and marketing duties. Therefore, Sosman needed someone to lead the paint studio, essentially functioning as his replacement there.

Hamilton was from the East Coast. He settled in New Jersey during the 1890s, where he remained with his wife Betty for thirty years. He started out as an itinerant artist, working all across the country; traveling from one painting project to another. Moses first met Hamilton in 1892 when they were both hired to work on the designs and painting for a “Ben Hur” production – the tableaux version. Other artistic opportunities presented themselves, briefly separating the two, and they went their separate ways. In 1899, they reconnected when Hamilton sought out Moses in New York City when he needed help with some Christmas displays. It appears that the two personalities and their artistic abilities were still a good fit, prompting them to soon start a studio together – Moses & Hamilton.

Even after their scenic studio folded, the two would continue working together on a variety of projects throughout the States. Moses was at Sosman & Landis, while Hamilton was at New York Studios, the eastern affiliate of Sosman & Landis. Stamps on the back of some designs from the University of Minnesota’s Performing Arts collection denote that the New York Studios “Home Office” was located at 328 West 39^th St. N.Y. They also had a “Chicago Office” for New York Studios. Just as New York Studios functioned as the eastern affiliate for Sosman & Landis, the Sosman & Landis Studio functioned as the western affiliate for New York Studios. New York Studios was managed by a previous employee David Hunt. Hunt has also partnered with Sosman & Landis to establish the theatrical management form of Sosman, Landis & Hunt, in the 1890s. The Chicago Office for New York Studios was located at 1022 Consumers Building. One example of a New York Studios design is a cave composition for the 9^th degree of the Scottish Rite, part of the Holak Collection in the Performing Arts Archives scenery collection (PA49).

Until 1908, Hamilton and Moses continue to work on several projects together, including the “White City” for a park in Pittsburg and the touring show “Tilly Olson.” Similar in nature to “Yon Yonson,” this touring production starred Emily Erickson Greene as the female lead. It tells the story of a young Swedish girl. She was first “bound” to a Minnesota farmer’s family, but later winds up in Minneapolis where she has many adventures, including the prevention of a bank robbery. In the end, she marries and settles down to a quiet country life. After this touring show, Moses records very little interaction with Hamilton, as his focus soon centers on the massive projects subcontracted to Sosman & Landis by M. C. Lilley & Co. (the fraternal regalia and paraphernalia supplier of Columbus, Ohio). Very little is known of Hamilton’s projects at this time, but his home remains in New Jersey. Like Moses, however, Hamilton’s work begins to include the painting settings for fraternal projects.

“Secret societies,” fraternal organizations, and a variety of other social clubs represented a unique clientele with scenic demands. Scenic studios meshed traditional painted spectacle for the commercial theater with unique performances in private venues. Simultaneously, popular scenic illusions continued to appear in massive outdoor spectacles and amusement park attractions for the general public, fueling a demand for visual entertainment. There were ample opportunities for scenic artists to work all across the country at a variety of entertainment venues. Business was booming during the first decade of the twentieth century and competition between studios was good-natured, if not jovial; there was always more than enough work to share.

In fact, there was almost more work than there were skilled painters to hire, leaving some areas with the only option of contracting inexperienced individuals. Many of the smaller projects for social halls, or other tiny community buildings, fell to local artisans who marginally understood the concept of scenic art for the stage; they were not trained in the standard aesthetic for the stage. All throughout the Northeastern United States, small Grange Halls and city halls displayed painted scenery that was more closely aligned with folk art than anything created for New York City or Chicago. Small towns in the west, however, often were able to contract professional scenic artists. In some cases, these small western opera houses were like sitting ducks for the big scenic studios of Chicago, Minneapolis, and Kansas City. Easily accessible by railroad, there was a quick turnaround between contact, contract and delivery.

To be continued…