Part 468: Noxon & Strauss
Thomas C. Noxon established other scenic art firms before founding Noxon and Toomey. One was a business venture was Noxon & Strauss. I came across two articles during the four-year life of this company; one from 1868 and one from 1872. I have yet to identify Strauss beyond his last name and work as a scenic artist with Thomas Noxon and Charles Witham.
In 1868, Noxon & Strauss painted a setting for “Seven Sisters” at the Olympic Theatre. The New York Clipper reported that one scene for the show represented the Southern Hotel Rotunda, it was “gotten up in grand style and reflects credit on the scenic artists, Messrs. Noxon and Strauss” (25 April 1868, page 6).
In 1872, an “Inter Ocean article” that mentioned Noxon & Strauss verified that they were working in Chicago. Many scenic artists sought work in the city after the great fire of 1871. Theaters were among many of the new buildings proposed or rebuilt during this period. Hooley’s and Myers were two theaters mentioned the article, “Rebuilding and Real Estate” (Inter Ocean, Chicago, Illinois, 14 Sept. 1872, page 4). Noxon & Strauss painted the new scenery at Hooley’s, including the drop curtain. The drop curtain design depicted a scene from Heidelberg surrounded with painted drapery. The picturesque castle and town suggesting European origins was common for the time, as many compositions harkened to the old world. The Inter Ocean reported, “every convenience desirable for the production of the spectacular drama has been provided.”
Hooley’s Theatre was located at 124 W. Randolph Street, between Clark and LaSalle, and was dedicated on October 21, 1872. The building was four stories with lodge-rooms on the upper floors and a basement below the theater. The seating capacity was at a sizable 1,500. “The Chicago Tribune” reported, “They have reached the extreme height of perfection for stage mountings. The drawing-room scene, with its genuine marble mantels, real oil paintings, and rich furniture was a gem of scenic taste and effect. This is the direction in which Hooley’s is sure to become famous” (10 Dec. 1872, page 8).
I am going to post the article about Hooley’s in its entirety, as it provides a lot of information about this well-know venue, including that the fresco work was by another artist who I have examined – Peter M. Almini. Thomas G. Moses worked for Almini when he first ventured to Chicago and began his career as an artist in the mid-1870s.
“Hooley’s Opera House
This place is also approaching completion. Work on the interior has kept pace with the laying of the walls, so that now, although the rook has not been placed in position, the auditorium is far enough along to give a visitor a very correct idea of what it is to be. The front on Randolph Street is four stories (seventy-two feet) high, and built of very heavy Columbia stone, with elaborately carved trimmings. Two very large brackets over the first story will be ornamented with the figures of Comedy and Tragedy. Those who have seen the stonework in the yards of McKeon & Co., where it is being prepared, pronounce it as fine as any in the country. The hall leading to Randolph street to the theater is 20 wide and 70 feet in length, and it will be frescoed in oil by Almini and lighted by a number of large chandeliers. The hall opens into the west end of the auditorium, which is 65×68 feet. The extreme height of the interior, from the floor of the parquetted to the center of the dome, is 66 feet. The parquetted, parquetted circle, balcony and dress circles, are arranged in the form of an amphitheater. The parquetted and parquetted circle will be furnished with iron opera chairs of the Pike Opera House pattern – the same that was used in Hooley’s Clark Street Opera House. Above these, in the balcony circle, black walnut sofas will provide the seating accommodations. The chairs and sofas will be upholstered in first quality crimson plush. The walls and ceilings will be elaborately frescoed in oil by Almini.
From the center of the dome will hang a massive chandelier of 200 lights, of a new pattern, made expressly for Mr. Hooley by the United States Reflector Company of New York.
The proscenium boxes, four in number, will be ornamented in blue and gold, by Mr. Mela, the gentleman who did that’s service for Mr. McVicker.
The stage opening is thirty feet wide by thirty-four feet high. The depth of the stage is forty-five feet. Every convenience desirable for the production of the spectacular drama has been provided.
The drop curtain will fill the entire stage opening, and is being painted by Noxon & Strauss. The design will be the castle and town of Heidelberg, surrounded by drapery.
Four exits, two from the galleries and two from the parquetted circle, will empty the house rapidly as could be wished under any circumstances.
It is almost too early to pronounce upon the general effect of the theatre, but it is safe to say, considering the men who have the work in charge, that it will be no mean rival of the other places of amusement. Mr. Hawks is the architect, Mr. Graham the contractor for woodwork, and Messrs. Agnew & McDermott the builders.
Despite the present unpromising appearance of the place, Mr. Hooley seams perfectly at ease, and confidently assures visitors that “the gas will be turned on and the play commence promptly at 8 o’clock on the evening of the 9th of October [1872].”
By 1878, Strauss was no longer working with Noxon. He was now painting with Charles Witham as they provided scenery for “Uncle Tom’s Cabin” at the Grand Opera House in San Francisco, California. The new season was inaugurated with a “reconstructed version” of “Uncle Tom’s Cabin.” “The Clipper” reported, “The scenic effects by Witham and Strauss were beautiful and realistic pictures.” (23 Feb. 1878, Vol. 25, page 383).
After this final mention, the scenic artist “Strauss” disappears from print.
To be continued…
