Part 729: Drop Curtains in Philadelphia, 1894 – Matt Morgan and the Walnut Street Theatre
“Well-known Drop Curtain in Philadelphia Theatres” was an article published in “The Philadelphia Inquirer on Dec. 18, 1894 (page 45). Over the next two weeks, I will post the article in its entirety and then return to the Moses typed manuscript and the year 1909. Here is the third part about scenic artist Matt Morgan’s drop curtain at the Walnut Street Theatre.
“The drop curtain at the Walnut Street Theatre is strikingly different from any other in town. It is skillfully painted to represent silk, and appears to be made of sixty-four squares of white silk deftly sewn together, on which, in a large oval in the center of the curtains is painted a charming picture, representing Shakespeare reading his play, “The Merry Wives of Windsor,” before Queen Elizabeth. It is known as the Shakespeare curtain, and was painted by that versatile artist, ‘Matt’ Morgan, in 1877. Matt Morgan, now deceased, was a prominent figure in the art world. Though born in Ireland, he was educated in London, and worked on a number of illustrated papers. He was also a figure artist of marked ability, but was unsuccessful in his business ventures. The curtain was first unrolled September 10, 1877, and shows none of the effects of the seventeen years of constant use. Through the oval occupies less than a third of the square surface of the curtain, it contains more than a score of personnages. The aged queen, habited in a robe of yellow silk with pointed bodice of coquelicot satin, puffed sleeved trimmed with velvet and an enormous white lace collar and lace cuffs, is seated upon a throne surrounded by courtiers, pages and attendants, while she listen with rapt attention to the reading of the play.”
The Walnut Street Theatre, located at the corner of Ninth & Walnut Street in Philadelphia, opened its door on February 2, 1809. Initially the structure featured a ring for equestrian acts, built by the Circus of Pepin and Breschard. Over the course of two centuries, the building underwent many renovations. It was enlarged between 1811 and 1816, transitioning into a legitimate theatre that included a real stage. Remodeled between 1827 and 1828, the Walnut Street Theatre installed gas lights in 1837 and air conditioning in 1855; an American first for both. By 1863, Edwin Booth and John Sleeper Clarke purchased the venue. Throughout the duration of the 19th century, the theatre underwent a series of renovations, including a series of scenery purchases, as was common at the time. Morgan’s drop curtain was installed in 1877.
Matt Morgan was celebrated scenic artist and caricaturist. An Irishman trained in London, he was a favorite pupil of Stanfield. By 1866, he was working as a scenic artist, an assistant to Thomas Grieve at the Covent Garden Theater in London (The Era, 23 Dec. 1866, page 8). In 1870, Morgan immigrated to America and soon made a name for himself at Frank Leslie’s Illustrated paper, becoming a rival of Thomas Nast, the German-born caricaturist and editorial cartoonist (Reading Times, 12 Oct, 1876, page 4). Before immigrating to America, Morgan initially worked as a cartoonist for “Tomahawk,” a weekly comic paper during the 1860s. Once settled in America, Morgan worked in a variety of locations across the country. In 1875, a Chicago article abut the revival of scene painting in the city described Morgan as “so far above the ordinary level of scene-painters” (Chicago Tribune, 14 Feb 1875, page 10). Later Morgan was at the head of the art department of the Stowbridge Lithographing Company in Cincinnati.
In 1886, Morgan organized a scenic art company in Cinnicinnati, Ohio. The company was to “present a series of accurate and historic pictures of the decisive battles of the late war between the states. These great pictures, now approaching completion for the northern victories, are to be exhibited throughout the country under the directions of competent lecturers; well known officers of both armies (The Pulaski Citizen, Pulaski, Tennessee, 12 Aug. 1886, page 2). According to newspapers, Morgan died of pleurisy, brought on by the work in the new Madison Square Garden (Logansport Reporter, 3 June 1890, page 3).
In 1905, the “Pittsburgh Daily Post” described one of Morgan as a “forgotten artist” when his work was exhibited at the 1905 Scene Painters’ Show. Held at the Grafton Galleries by the Scenic Artists association, the exhibit featured Theater Artists of Great Britain, including cartoons by Matt Morgan. The article reported, “One of his cartoons represented Ireland as a young girl bound to the stake, clasping to her bosom a harp. The masked executioner, setting fire to the fagots piled around her, is Disraeli, and behind him stand John Bright and Gladstone” (14 May 1905, page 26).
While searching for information about Matt Morgan, I discovered a story that gives a little insight into his personality. It appeared in “The Theatre Magazine,” Vol. 7., page 41:
“The late Matt Morgan, the scene painter and artist, had a great love for a practical joke as Theodore Hook. He was fond of donning an old suit of clothes and singing ballads, or selling chestnuts in the streets. Once he hired himself out as a drover, and was entrusted with the care of some sheep, but after taking them down the busiest part of Camden Town, suddenly left them, went home and changed his dress, and re-appeared to enjoy the predicament of an unfortunate policeman who had had to turn drover for the nonce. Another time one of his friends, attracted by a crows of people, found Matt, who, like Zacchæus, was little in stature, struggling with a man about 6 ft. 2 in., who was supposed to be an escaped lunatic, but who in reality was Matt’s cousin. By valorous exertions Matt succeeded in overpowering the big man, and with the aid of a rope contributed by the bystanders, who took it all au strieux, bound him securely, and led him away.”
What a character.
To be continued…
