Month: March 2021

Copyright © 2020 by Wendy Waszut-Barrett

In 1924 Thomas G. Moses wrote, “Fitch Fulton drifted in from the west on the 18^th of July and we found work for him on designs.”

Fulton became Moses’ right-hand man for the next few years.  Moses, Fulton and Harry Naile formed a unique scenic trio that went from one Masonic project to another, completing work secured by Fred R. Megan. Two of their projects included Scottish Rite theaters in Pasadena, California and Fort Scott, Kansas. Fulton was Moses’ painting assistant, friend, and sketching companion. Like many of Moses’ friends living in California, Fulton transitioned from theater to motion pictures by the 1930s. Moses did not.

Today, Fulton is primarily associated with one particular painting – his matte painting of Tara from “Gone With the Wind.” Measuring 36 inches by 31.5 inches, it was used under the films’ opening credits. In 2013, CBS reported on a Hollywood Memorabilia Auction, where Fulton’s painting was sold for $225,000. (https://www.cbsnews.com/pictures/hollywood-memorabilia-auction/). Fulton originally gifted the painting to his son, John P. Fulton, inscribing on the lower right corner, “To John from Dad.” His son John P. Fulton ended up in special effects for the motion picture industry, starting out as a cameraman.

Men like the Fitch Fulton bridged the gap between nineteenth-century special effects and twentieth-century special effects. It is no wonder that his son would excel in the planning and engineering of special effects for film, as he grew up watching his father engineer special effects for the stage. The only difference was that one century created illusion for live performance on stage and the other century used the screen. Again, nineteenth-century scenic artists did much more than paint backdrops, they engineered and often constructed stage illusion, spectacles, amusement park rides and other popular entertainment. Those, like Moses, who clung to only producing special effects for the stage continued to struggle. Interestingly, they became more reliant on the integration and sale of draperies.

Fulton is repeatedly mentioned by Moses his memoirs in 1924 and 1925, I am going to include a little history about this interesting individual. Like Moses, he was not only a scenic artist, but also an easel artist and exhibited his work in California. He was a member of the Painters and Sculptors Club, the Artists of the Southwest,  Academy of Western Painters, the California Watercolor Society and the California Art Club.

Fitch Burt Fulton was born in Beatrice, Nebraska, on Oct. 10, 1879.  He was the son of John Blythe Fulton (1835-1924) and Sarah Phipps Fulton (1835-1902).  One of six children, his siblings were Margaret Ann (1859-1951), Thomas B. (1867-1946), William S. (1868-1955), Richard N. (1870-1953) and Jessie Berlin (1873-1912). Fulton’s artistic ambitions were apparent by the 1890s.

On September 30, 1898, “The Tribune” in Beatrice, Nebraska, reported, “Fitch B. Fulton, the young Beatrice designer and engraver, is rapidly coming to the front. He has gotten up some very handsome and artistic designs of late. The young man shows great ability and undoubtedly has a very bright and successful career before him” (page 6). On October 15, 1898, the “Beatrice Daily Express” reported, “The carnival cut on this page is the design of Fitch B. Fulton of this city. It is a credit to Mr. Fulton’s genius and betrays the evidence of a rising young artis.” He continued his artistic studies in Chicago at this time.

In 1899, Fulton returned to his studies in Chicago after holiday break. On March 14, 1899, the “Beatrice Daily Express” reported, “Fitch B. Fulton has gone to Chicago to re-enter the art institute there.” Fulton studied under John Vanderpoel, Frederick W. Freer and J. Francis Smith at the Art Institute. He also studied at the Arts League of New York.

Fulton married Anna Maria Engstrom (1879-1941) in on March 8, 1902, and the two celebrated the birth of a son, John Phipps Fulton (Nov. 4, 1902), and the birth of a daughter, Bernice (July 23, 1905). Bernice was born in Cheyenne, Wyoming.

On Dec. 16, 1902, the “Beatrice Daily Express” reported, “The Beatrice Book and Stationary Co. has on display in their north show window a number of sketches done in watercolors by Fitch Fulton, a local artist. These simple studies are well excited and show a fidelity to nature that is remarkable. The color is rather subdued but it is the more striking because of the prevalence and effect of the soft tints. At present Mr. Fulton is in Omaha engaged in work of this nature.”

In 1913, the Fultons moved to San Francisco on where he worked on the railroad exhibit at the Panama-Pacific International Exposition in 1914. After the world Fair’s work, the Fulton’s loved in Denver for a year before permanently moving to Los Angeles in 1916.

In 1918, Fulton listed that he was working as a scenic artist at the Edwin H. Flagg Scenic Co. in Long beach, California, on his WWI draft registration card. At the time, his physical appearance was described shirt and stout, with black hair and brown eyes. By 1920, the Federal Census listed the Fultons as living next to fellow scenic artist Arthur R. Hurtt and his wife Winnifred (58 and 55 yrs. old, respectively). The Fultons were at 1510 Mowhawk Street and the Hurtt’s at 1518 Mowhawk Street. That year Fulton partnered with J. D. Martin and Wm. T. Martin to establish the J. D. Martin Scenic Co., Los Angeles.  It was listed in the Incorporations section of “Southwest Builders and Contractors” (11 Feb 1920, page 30). The listing included: “Capital stock, $25,000; subscribed, $3,000; Directors J. D. Martin and Wm. T. Martin, 215 E. 25^th St., and Fitch B. Fulton, 1519 Mohawk St.; Attorney: William Crop, 544 Wesley Roberts Bldg.

In 1922, the Fultons were living at 1545 Columbia in Glendale, California. That year he was credited with painting a landscape for California’s Pageant of Progress and Industrial Exposition.  On September 4, 1922, the “Los Angeles Times” reported, “Camping styles for maid who crave to trade their skirts for knickers and steal away with rod and gun to fish and hunt have become distinctly a Los Angeles product. The best examples of this young Diana styles are on display at one of the most unique and effectively decorated booths on the exposition grounds. The Army and Navy camp shows a mountain woodland scene with a scenic background painted by Fitch B. Fulton, who received a gold medal at the Panama Pacific Exposition for the Gould Railway exhibit. He is a member of the California Art Club.” In 1922 Fulton also received applause for his stage settings for “La Golondrina (The Swallow)” at the playhouse in San Gabriel (Los Angeles Evening Express, 9 April 1922, page 16). J. M. Cox was the director.Throughout the 1920s, he continued to primarily work on stage productions. On June 1, 1925, he was credited with the settings for “The Big Top” at the Majestic (Los Angeles Evening Express, 1 June 1925, page 6).

During the 1920s, Fulton became increasing active in art shows. In 1923, he exhibited with the California Watercolor Society. On January 7, 1923, the “Los Angeles Times” reported “Fitch Fulton’s ‘Wedding Dream’ is remarkably decorative in composition and color, it is permeated with delicate and refined beauty, it is a painted Epithalamium.” In 1925, some of Fulton’s painting were included in the first exhibition of the Artland Artists­­. On Nov. 1, 1925, the “Daily News” listed “Soboba Sycamore” by Fitch B. Fulton as one of the oil paintings on display (page 33). In 1926, Fulton’s artworks were part of the third exhibit of paintings by the L. A. Art Club (Los Angeles Evening Express, 3 September, 1926, page 17). That year, he also was the president of the Painter and Sculptors Club in Los Angeles. He continued to exhibit artworks whenever he could, but held off on a one-man exhibit until 1951. On April 29, 1951, the “Los Angeles Times” announced “Fitch Fulton Impresses.” (page 14). Fitch Fulton, now 62, has long been known here as a good landscape painter. Until his recent retirement from work for motion pictures, however, he was always too busy to prepare an exhibit. So, at 62 Fulton has his first one-man show. It consists of small oil landscapes, very sensitively recording things see by a poetic eye. This exhibit is on until May 7 at the Little Gallery, 626 N. Glendale Ave.” For a glimpse at some of his paintings, visit Mutual Art at https://www.mutualart.com/Artist/Fitch-Fulton/41294041B9B9CE70/Artworks

All the while, he kept working as a scenic artist, completing projects for a variety of studios and under his own name. In 1927, Fulton was credited with the scenic design for the “Devil’s Plum Tree” (San Francisco Examiner, 11 Sept. 1927, page 52.).  J. D. Martin Studios in Hollywood executed Fulton’s designs. By the 1930s, Fulton transitioned to the motion pictures and was associated with the visual effects for “The Enchanted Cottage” (1945),  “Citizen Cane” (1941), and “Gone with the Wind” (1939).  He was listed as part of the technical staff for “Mighty Joe Young”  (1949), credited with special effects for the film. Again, this is no surprise as Fulton was already familiar with engineering special effects for the stage.

He lost his wife Anna just as his film career was starting to gather momentum in 1941. On April 7, 1941, their hometown newspaper reported, “A message was received here yesterday announcing the death of Mrs. F. B. Fulton, formerly of Beatrice, which occurred at Glendale, Calif., where she had resided since leaving this city. She has been in failing health for a year or more. Surviving are her husband, who has long been connected with the scenic department of the movie colony in Hollywood, one son John, who is also with the movies as a production representative and a daughter, Bernice. (Beatrice Daily Sun, page 1).

Fulton soon remarried the next year. On May 8, 1942, he was wedded to Mary Ann “Mamie” Davlin Fulton (1890-1994). Mary is quite interesting in her own right, as she was the first woman in the United States and Canada to become a freight router. A native of Plankington, South Dakota, she spent most of her adult life in Los Angeles, where she attended Heald Business College. This was Mary’s second marriage too. She long out lived Fitch, passing away in 1995 at the age of 104.

He died on Feb. 23, 1955 in Glendale, California and is buried at Mission Hills, Los Angeles, California. His obituary was published in the “Los Angeles Times” on Feb. 25, 1955. It noted,  “Mr. Fulton, who first came to California in 1913, was a designer and artist. He leaves his widow Maryl; a daughter Mrs. Krutchfield Ahair, Santa Barbara; a son, John P. Fulton, North Hollywood, and four grandchildren.”

I cannot end this post without a brief mention of Fulton’s daughter and son. Both of the Fulton children were artistically gifted. When Bernice married in 1932, the “San Bernardino Country Sun” reported, “Miss Fulton has been a teacher in the art department of the Belmont high school, Los Angeles, for five years, being a graduate of U. C. L. A. and also studies in Europe. Her father was the artist painting the curtain in the municipal auditorium in San Bernardino.”

Her brother, John P. Fulton, directed his artistic abilities toward the film industry. In 1930, John P. was listed as a Cinematographer in the motion picture industry, living at 1168 ½ on Hampshire Blvd. in Los Angeles.

A decade later, John P. was listed as a cameraman in the 1940 census. By 1947, his draft registration card listed his employer as Universal Pictures Corp, Universal City. At the time, John was living with Bernice at 1521 Kings Rd. Hollywood, California. There is a great amount of information out there about Fitch’s son, especially blog posts. Here is a link to

“The Wild and Wonderful World of John P. Fulton. A Look back at the magical creations and unforgettable visual effects of virtuoso special effects master John P. Fulton, A.S.C.”: http://nzpetesmatteshot.blogspot.com/2010/08/wild-and-wonderful-world-of-john.html

Sadly, John passed away only a decade after his father. In 1965, he contracted a rare infection while working on a film in Madrid, Spain (“The Battle of Britain”), and passed away in an English hospital.

To be continued…

Examples of historic scenic art from the Scenery Collection stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University.

The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.

Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.

Examples of historic scenic art from the Scenery Collection stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University.

The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.

Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.

Copyright © 2020 by Wendy Waszut-Barrett

In 1924 Thomas G. Moses wrote, “Closed a contract at Pittsburg for some new drapery at the Shrine.” Moses was referring to the new Shrine Temple in Pittsburg, Kansas. The Mirza Temple featured an auditorium and galleries with  a seating capacity of 2,500.

On August 25, 1924, the “Parsons Daily Sun” included a picture of the new building and announced, “Mirza Mosque As It Nears Completion” (page 6). The article described, “The mosque of Mirza Temple of the Mystic Shrine at Pittsburg which is being built by the Shriners of southeast Kansas, over which the temple has jurisdiction is nearing completion. The structure is being erected at a cost of over $400,000, of which the Shriners in Parsons pledged a generous amount. The building of the mosque started about a year ago and it is expected the formal opening will take place sometime this fall. The structure is three stories high, covers a half block square is built of dark red brick and trimmed with Carthage building stone. When competed it will have adequate facilities for all the Shrine activities. The auditorium will seat between 2500 and 2600 and the stage, is large enough to care for the elaborate ceremonials of the Shrines. The city of Pittsburg will have access to the various community affairs.”  The article went on to state that there were about 3,000 Shriners in the district which includes southeastern Kansas. Mirza Temple also had a 52-piece band whose members came from all over the area, including Iola, Parsons and Coffeyville. By the late 1920s, Mirza Temple also had a group named the “Agitatin’ Annies,” a woman’s auxiliary of the Shrine that performed and marched in parades.

On November 13, 1925, the “Chanute Weekly Tribune” included a picture of the new building with the description, “the above building has a frontage of 167 feet on Pine and 142 feet on Fifth Street in Pittsburg. In its interior is an auditorium for conferring the Shrine work, also for entertainments, including the productions of the largest theatrical companies on the road. The most wonderful electrical effects produced in great theatres of New York City can be reproduced by the Temple equipment. Various offices, patrol and band rooms, dining hall accommodating 1500  people, dancing floor, kitchens, etc. are also in the building” (page 6).

On November 27, 1925, the “Chanute Weekly Tribune” reported, “Many Chanute Shriners sojourned to Pittsburg yesterday to attend the dedication of Mirza Temple’s new mosque, costing half a million dollars. The dedication ceremonial was held at 10 o’clock in the morning and in the afternoon a class of 114 novices began their pilgrimage over the burning sands at the largest ceremonial session ever held by Mirza Temple” (page 4).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

For the past year, I have slowly plugged along on the Tabor Opera House scenery project. In addition to two site visits, I tracked down a massive amount of information pertaining to the individuals and scenic studios that produced scenery for the Tabor Opera House in Leadville, Colorado, and the Tabor Grand Opera House in Denver, Colorado.  Both were built by silver magnate Horace Tabor in 1879 and 1881, respectively. The story of the Tabor Opera House is intertwined with the success of a boom town, a passionate love triangle, and the establishment of the Silver Circuit.  Tabor and his opera houses have repeatedly been the topic for both fictional and non-fictional accounts, even inspiring the 1932 movie “Silver Dollar.” Tabor’s second wife was the famed beauty featured in the 1958 opera by Douglas Moore and John Latouche, “The Ballad of Baby Doe”(http://usopera.com/operas/ballad.html).

The Tabor Opera House in Leadville was planned by someone who did not understand theatre architecture nor the basic logistics. Horace Tabor was simply a patron of the arts with money to burn.  Although his opera house opened in November 1879, the auditorium and stage were renovated by August 1882; the acoustics and stage machinery were an abysmal failure. There were more structural changes for the building two decades later when the building was purchased by Leadville’s Benevolent and Protective Order of Elks (B.P.O.E.). Tabor lost his fortune in the early 1890s, and the building changed hands before the Elks purchased it in 1901. 

By the way, the founder of the Elks (actor Charles Vivian) died in Leadville and his funeral was held at the Tabor Opera House.

When the Elks acquired the Tabor Opera House (then known as the Weston Opera House), they completely renovated the auditorium and stage. Part of the renovation included adding a fly loft and purchasing all new scenery from the Kansas City Scenic Co.  The Kansas City Scenic Co. subcontracted some of their project to the Sosman & Landis Scene Painting Studio of Chicago. Sosman & Landis delivered at least two of the interior settings and a ceiling panel.

Between 1879 and 1902 new scenery was delivered multiple times as the venue transitioned from a wing-and-shutter scenery to a fly drops, box sets and folding wings. Scenic artists included decorative artist James E. Lamphere (C. A. Treat, Denver), T. Frank Cox (well-known theater architect and founder of Cox Bros. Great Southern Studio, New Orleans) and Henry E. Burcky (well-known scenic artist of Hooley’s Theatre in Chicago and the 1881 Cincinnati Opera Festival).

When the nineteenth-century scenery was replaced with new scenery in 1902, the old scenery was simply stored in the attic. Over the years a few pieces were lowered to the floor, but it was an arduous task to transfer it from the attic to the stage floor, so much remained untouched. Until 2020, much of the scenery remained stacked along one attic wall, patiently waiting under piles of dust and debris.

I was hired in 2020 to document and evaluate the Tabor Opera House scenery collections. My task was to conduct a historical analysis of the collection, evaluate the condition of individual artifacts, provide replacement estimates, and create a collections care management program. At the time, I believed there were about 50 pieces on the stage and about 30 pieces in the attic. I was very, very wrong, and grossly underestimated the amount. I could not never have anticipated the size or scope of the collections. The sheer numbers surprised everyone.

To date, the documented stage artifacts comprise fourteen unique theatre collections, spanning from 1879-1902. There are over 250 individually painted compositions, as many pieces are double-painted. Nineteenth-century scenery once stored in the attic was designed for a wing-and-shutter system. The twentieth-century scenery was designed for a more modern stage with a fly loft. I have never encountered so much scenery delivered to one place, specifically one small opera house in the mountains. Even when the scenery was damaged over the years, it wasn’t discarded. We uncovered dozens of painted scraps and little broken bits, just tucked away, out of sight, out of mind.  

I have completed two of three phases, as there are still piles of undocumented scenery scattered throughout the building, stored above attic rafters and elsewhere. The first phase of the project (February 2020) focused on the twentieth-century scenery and the second phase (September 2020) focused on the nineteenth-century scenery in the attic. The third phase will happen sometime this year and include a “rounding up” of the remaining artifacts. They just keep popping up all over the place.

The historical analysis of the fourteen Tabor Opera House collections is 440 pages long. I wrote the text in a conversational format to help communicate information to both the Board of Directors and architects. I included fun facts and stories for moments of levity, sharing the lives and careers of the many individuals involved with the stage from 1879-1902. I wanted these artifacts to personally impact those without a thorough understanding of technical theatre or theatre history. The title of my tome is “A Theatre Time Capsule: Scenic Collections at the Tabor Opera House.” My work places the collections and each artifact within a historical context, both nationally and internationally.  This 440-page document does not include the individual conditions reports, replacement appraisals, recommendations or collections care program. That was a whole separate headache. When everything is put together, my work is just shy of 1300 pages. I am dreading making a hard copy of everything next month.

The scope of the collection is the broadest that I have ever encountered, not just in regard to the scenery, but also in regard to stage hardware. Yes, there is water damage, punctures, abrasions, poor repairs, alterations and the like, but much of the scenery is between 119 and 142 years old, so with that in mind, the scenery is in remarkable shape and all salvageable.

I will keep you posted once third final phase is complete.

Please consider making a donation to the Tabor Opera House. Here is alink to their website: https://www.taboroperahouse.net/

Examples of historic scenic art from the Scenery Collection stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University. The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.

Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.

Copyright © 2020 by Wendy Waszut-Barrett

In 1924 Thomas G. Moses wrote, “Dave Adam’s funeral on June 24th. Rupert and I went in his car.  Dave was a fine fellow and was only 40 years of age.  He had made quite a hit with his pictures.” Adam specialized in portrait painting and taught at the Art Institute of Chicago.

David L. Adam died on June 20, 1924 and was buried four days later at the Irving Park Blvd. Cemetery. On June 21, 1924, the “Chicago Tribune” reported, “David L. Adam, Artist Dies After Operation” (page 8). The obituary notice described, “David L. Adam. 40 years old, former president of the Palette and Chisel club, 1012 North Dearborn street, and widely known as an artist, died at the Columbus hospital yesterday afternoon following an operation. The funeral will be held Tuesday from the undertaking rooms of C. Kraupse, 3905 Lincoln avenue.”

David Livingston Adam was born in Glasgow, Scotland, on November 8, 1883.  He was the son of William Palaue Adam (b. 1846) and Isabella Kilpatrick (b. 1849) Adams. Born in 1884, he was one of four children born to the couple. His brother, William Jr., was born in 1881, his sister Mary in 1882, and his sister Isabella in 1885. The family emigrated from Scotland in 1897, settling in Chicago where William Sr., William Jr. and David all worked as artists. The 1900 census listed their occupation as “copyist and artist.” That year, the family was living at 5926 Ontario Street.

Prior to his arrival in America, David had studied at the Glasgow School of art with Jean Delville and M. Greiffenhagen. In America, Adam continued his studies at the Art Institute of Chicago and was active in the Palette & Chisel Club. This was where he became close friends with Moses. He and Moses selected the final site for the club’s summer home at Fox Lake.  In Moses’ scrapbook there was an article from the mid-1920s entitled, “The Camp Tradition Draws Members to Fox Lake.” The article noted the selection of the club’s summer location: “The present site was elected by Tom Moses and the late Dave Adam, and their choice was immediately ratified by the erection of a more pretentious camp building that we have ever before.” The club’s summer quarters at Fox Lake were described on Oct. 2, 1921, in the “Chicago Tribune”- “During the summer months the club maintains a place at Fox Lake for outdoor painting. The ‘Summer Camp,’ as it is called, is the property of the club and comprises a clubhouse of sufficient size to accommodate seventy-five persons. It occupies a site adjacent to the lake.”

In 1921, Adam was president of the Palette and Chisel Club. That year, the Palette and Chisel Club was featured in the “Chicago Tribune” when the club became part of the North Side Colony. In 1921 the Palette & Chisel Club also opened its new quarters on 1012 North Dearborn street. For the opening David L. Adam was listed as the master of the ceremonies (Chicago Tribune, 2 Oct 1921, page 18).  As his term was ending at the club, the “Chicago Tribune” reported, “At a recent meeting of the Palette and Chisel club Glen Scheffer was elected president for the coming year. He takes the office from David L. Adam, under whose presidency the club has made great strides during the last year. It now has a membership of 200, which it is hoped will be increased by 350 in the near future. Sketch classes are held four nights a week” (12 Feb 1922, page 76). On April 3, 1922, he was interviewed by “the Inquiring Reporter” for the “Chicago Tribune.” When Adam was asked, “What is your best cure for the blues?” at the Palette and Chisel Club, he responded, “I so seldom have had the blues that I hardly know whether they are blue or black or what. Prevention is better than any cure, and I have to do that by having so many outside interests.”

At the time of his death, Adam’s occupation was listed as a teacher, specializing in portraiture at the Art Institute. His is just one more tale of a talent that ended too soon.

Over the years, Moses saw so many artists cut down at their prime. This list included Moses’ first mentor, Louis Malmsha of McVicker’s, and his one-time business partner Walter Burridge. There is something tragic about an artist who dies so early in life, just when the sun is starting to shine. You never see them grow old, their artistic styles shift, or them overcome any of life’s later obstacles. They are frozen in time, always full of promise and potential.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

In 1924, Thomas G. Moses wrote, “…made my way to Johnstown, Pennsylvania, to meet Mr. Wehn, Secretary of the Board of Education.  We went up into the hills and I made two sketches, which I afterward presented to him.” That spring, newspapers reported, “Jamestown’s School Cost Takes Big Jump” (The Warren Tribune, 8 May 1924, page 12). From 1919-1924, the cost for operating the public schools in Jamestown increased 13 percent. Class sizes were getting bigger as the town expanded. There was a similar situation all over the country as schools were continually planned and built.

 Later in 1924, Moses wrote, “Our work is running to schoolhouses and parochial halls.”

New school buildings meant that there was in increased demand for stage scenery and draperies in these academic facilities.  Although the projects were much smaller than touring productions and Masonic projects, these school auditoriums offered a constant stream of work. 

Stages were also being outfitted with new equipment and scenery throughout Pennsylvania. In Harrisburg, Pennsylvania, on the “Evening News” reported, “New scenery and a new curtain was yesterday set up on the auditorium stage at the High School building. The equipment will be used the first time tomorrow evening for the opening performance of “The Charm School,” the senior class play” (March 26, 1924, page 4).

To be continued…

Examples of historic scenic art from the Scenery Collection stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University.

The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.

Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.

Examples of historic scenic art from the Scenery Collection stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University.

The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.
Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.