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…
