Part 470: Noxon, Halley & Toomey
Thomas C. Noxon established another scenic studio after Noxon & Strauss. He took on two other partners – the Englishman Richard H. Halley and Noxon’s apprentice Patrick C. Toomey during 1880. “The Chicago Tribune” mentioned that Noxon, Halley & Toomey of St. Louis painted nineteen sets of scenery for the Greene’s New Opera House in Cedar Rapids, Iowa, during 1880. The newspaper mentioned that the studio was well-known and had completed “considerable scenic work in the State” (The Chicago Tribune, 23 Dec. 1880, page 11). Noxon, Halley & Toomey lasted for approximately four years, ending in 1884.
I have mentioned Halley in previous posts, but not examined this scenic artist in depth. By 1892, Halley was mentioned in the “Chicago Sunday Tribune” article titled “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). The article noted, “Richard Halley, at present winning laurels as a painter in Europe, was the scenic artist for Kelly and Leon in the halcyon days of minstrelsy and painted marbles in distemper almost as well as Kilpatrick does them at present in oil” (see past installment 248). Halley was working as the scenic artist for the Princess and Adelphi Theatres during 1892. Prior to his departure he worked with Lou Malmsha at McVicker’s Theatre during 1889 in Chicago.
The earliest mention of Halley that I have located in print was from 1872. That year, R. H. Halley painted a grand allegorical picture of “Progress” for Charles Walters Minstrels (Chicago Tribune 28 April 1872, page 7). By 1875, Halley was still painting solo. One of his projects included the scene “Venice by Moonlight” for “The Crimson Scarf” at the Grand Opera House in Chicago (Chicago Tribune, 31 January 1875, page 16).
In 1876, “The Tennessean” reported that “Mr. R. H. Halley, of Drury Lane Theatre, London,” was “an artist of high merit.” The article continued “Halley will at once enter the work of painting full sets of new scenery for the Grand Opera House, now being remodeled on the most expensive scale” (27 July 1876, page 4). A few month later, “The Tennessean” noted, “The scenery appointments for the plays to be produced by this company have been designed and painted by the celebrated artist R. H. Halley, and are equal to those found in any theater in America” (The Tennessean, 4 Oct, 1876, page 4).
By 1877, “The Tennessean” noted Halley’s departure from Nashville for England, reporting, “Mr. R. H. Halley, the scenic artist of the Grand Opera-house, departs this morning for New York, whence he will sail in a few days for his native England. The high standard of work done by Mr. Halley in Nashville is fully recognized by an appreciative public. In all the details of his art he displays a taste and skill that make the stage decorations of the Grand Opera-house hardly inferior to those of the best metropolitan theatres – a fact admitted by the leading managers who has visited our city. During his stay here, Mr. Halley has won many friends to whom his future career will matter of deep interest” (The Tennessean, 20 March 1887, page 4).
The next we learn of Halley is that he was painting for the Queen’s Theatre in 1878. He was producing the painted setting and scenic effects for the “Robinson Crusoe” pantomime. “The Era” reported there were “spectacular effects, the chief of which must be considered the Transformation Scene” (6 Jan. 1878, page 5). His sojourn in England, however, was not meant to last. Halley returned to the United States by 1879 and was painting the drop curtain for Pope’s Theatre in St. Louis. “The St. Louis Post-Dispatch” noted that Halley had “acquired quite a reputation as a scenic artist” by that time (20 Sept. 1879, page 3). It was at this point that he would meet Thomas C. Noxon, of the same city, and form Noxon, Halley & Toomey.
By 1881, the scenic studio of Noxon, Halley & Toomey journeyed from St. Louis, Missouri, to Memphis, Tennessee, painting the scenery for “Der Freischutz.” Halley’s previous theatre connections in Tennessee could have secured this particular contract. “The Public Ledger” published, “Messrs. Noxon, Halley & Toomey are here from St. Louis to paint the scenery for the opera, which will be presented a few days hence”(Memphis, Tennessee, 20 April 1881, page 4). “The Memphis Daily Appeal” reported, “The incantation scene will be especially artistic and attractive” (20 April 1881, page 4).
Noxon, Halley & Toomey also created scenery for “Fresh, the American” (St. Louis Post-Dispatch, 21 Nov. 1881, page 7). This scenery was a combined effort, as many productions, with painted contribution also by P. W. Goatcher and H. E. Hoyt. At this same time, Noxon, Halley & Toomey painted the scenery for “The Danites” at the Grand Opera House in St. Louis (St. Louis Post-Dispatch, 2 April 1881, page 7).
By the next year, Noxon, Halley & Toomey were mentioned in regard to the opening of the new opera house in Lawrence, Kansas. The Fay Templeton Combination Co. opened the house with “The Lawrence Gazette” reporting, “The scenic painting elicited many compliments for Mr. Toomey, of the firm of Noxon, Halley & Toomey, of St. Louis, a most estimable gentleman, and in our humble opinion beyond criticism as regards to taste and ability as an artist” (Lawrence, Kansas, 21 Sept. 1882, page 3). That same year, the firm painted a roll drop for the opera house in St. Joseph, Missouri. “The Atchison Daily Patriot” commented that the opera house “unrolled a new drop painted by Noxon, Halley & Toomey of St. Louis” (3 Oct. 1882, page 1). The composition depicted a view of Castle Gleno in the Bay of Callao.” This was the toehold that the company needed in the region, as they would later paint the drop curtain and scenery for the new opera house in Springfield, Missouri (The Cincinnati Enquirer, 18 February 1883, page 12).
In 1883, we learn that R. H. Halley went by the more informal “Dick Halley.” The firm was engaged to provide the scenery for the Olympic Theatre and Grand Opera House in St. Louis. “The St. Louis Post-Dispatch” provided little more information about Halley: “Dick’s full name is Richard H. Halley. He came to St. Louis several years ago, going first to the Grand Opera-house, and then Pope’s Theater when it opened and he remained there until two years ago when he became a member of the scenic firm of Noxon, Halley & Toomey, engaged to do the work of the Olympic Theater and Grand Opera-house. His first introduction to our public was when a private view was given of the drop curtain of the new theater. This curtain was the first of a combination satin surface and medallion center effects St. Louis had then seen. Since that time the city abounds in them. The work was highly praised by the art critics and lavishly commented by the public. There was a suggestion of originality in the achievement, and the beauty of the conception and the vigor and art of its execution won instant attention to the young painter. His scenic work the same season was found to bear out promise the curtain gave, and throughout his whole engagement at Pope’s he continued to win great commendation for his skill with the brush. Since his attachment to the forces of the down-town theaters he has kept himself at the front, and goes away with laurels bright and fresh as the first ever accorded him here” (St. Louis Post-Dispatch, 13 April 1883, page 4).
To be continued…
