Tales from a Scenic Artist and Scholar. Part 900 – Thomas G. Moses and George Senseney, 1915

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “On January 23^rd I got a ‘hunch’ that I was cut out for an etcher, at least I was led to believe it by my friends, after they saw some of my early pencil drawings and they insisted I could etch.  I joined a class headed by Mr. George Sensmey, an etcher of some prominence, and I started at it like a house afire.  For a wonder, the first two plates proved to be very fair, but the third one was pretty bad.  While I am not discouraged, I am convinced that I will never etch a plate like Pennell or Whistler.  I like it, but I haven’t the time to put on the work that it requires, so I am afraid that niche in the Hall of Fame will be vacant for a while.” That summer, Senseney was awarded a silver medal in the class for etching and engravings at the San Francisco Exposition (Evening Star, 28 July 1915, page 2).

That same year the “Evening Star” reported, “George Senseney, another erstwhile pupil of the Corcoran School of Art, has likewise attained much distinction, but in a different field, having made a specialty of color etching. For several years Mr. Senseney has resided abroad, but during the past winter he has been in Chicago, and now it is announced that from June 21 to August 28 he will assist in directing a summer school of painting at Saugatuck, a most picturesque place on the shore of Lake Michigan near the mouth of the Kalamazoo river. He will conduct the classes in landscape painting formerly under the direction of the late Walter Marshall Clute. Mr. Senseney is a member of La Societé des Gravures Originales en Couleur, Paris, and is represented in numerous public and private collections. Quite a number of his works are to be found in the print collections of the Library of Congress” (Washington D.C., 9 May, 1915, page 74).

Senseney was born in Wheeling, West Virginia, the son of Charles H. and Anna May Eyster Senseney. He attended the Corcoran School of Art in Washington and the Julian Academy in Paris, studying with Jean Paul Laurens and Benjamin Constant in France. He taught etching for the Art Student’s League in New York and in 1916 organized the New School of Art in Chicago.  Senseney taught design at Smith College from 1916-1920. While teaching, he became the art director for the American Writing Paper Corporation in 1919.  Two of his colleagues were Francis C. Heywood, who was a member of the technical force, and Russell S. Bracewell, a research chemist. While at the American Writing Paper Corporation, Senseney developed a flotation process, a marbling process, for decorative paper. It was this process that instigated his formation of the Marvellum Co. of Holyoke, Massachusetts. In 1921, the Senseney, Heywood and Bracewell organized the Marvellum Company, with Senseney as president, Heywood as treasurer and Bracewell as clerk and superintendent. Senseney remained president until his passing in 1943. The firm was known for its distinctive papers in the production of distinctive booklets and catalogues, such as Marvellustre and Marvelhide. They developed a wide range of products, including various papers from decorated cellophane to heavy cardboards for photo calendar mounts. Other products were for fancy papers used in gift wrap, greeting cards, candy boxes, and stationary. The company even perfected papers with wood grain effects.

In 1931 the Marvellum Co. was instrumental in organizing the Beveridge-Marvellum Company in South Hadley Falls. Beveridge-Marvellum developed pyroxlin-coated papers. They manufactured decorative metalloid, crystal and mother-or-pearl finished papers. 

Senseney remained in Holyoke until 1934 when he moved to Ipswich Village. Senseney passed away in 1943 after a long illness. Leaving behind his widow, Dorothy L. Stewart Senseney, a daughter, Virginia and two sons, George L. and William. Senseney’s obituary noted that he held a reputation as a  “World Renowned Etcher” (Press and Sun-Bulletin, 9 Nov. 1943, page 18).

The same year that Moses studied with Senseney, the etcher filed a patent for a “Color and Design Study” device (serial No. 63,672).  To aid the “study of color and design, which consists of a plurality of superimposed, perforated, color strips slidable one over the other to produce various geometrical figures and various color combinations, and auxiliary colored sheets secured to an detachable from said strips, having figures thereon which may be cut out in accordance with the designs suggested by said strips.”

Even in his studies, Moses surrounded himself with innovative individuals, many whose ideas prompted change in industries other than theater. At this point in his diary, I am never surprised with the people he encounters, a surprise with every year.

To be continued…