Copyright © 2021 by Wendy Waszut-Barrett
Frank E. Gates was a scenic artist at Sosman & Landis Scene Painting Studio in 1885.
His future business partner, Edward A. Morange, also worked for the firm during the 1880s. A decade later, the two established the well-known scenic studio in New York – Gates & Morange. I have previously covered the life and career of Morange, as Sosman & Landis Employee No. 21. Here is a link to the post: https://drypigment.net2021/04/21/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-21-edward-a-morange/
To fully appreciate life and career of Francis Edgar “Frank” Gates (1864-1952), one must understand the theatrical contributions of his father, Sigismund Iantis Gates (1826-1906). In addition to being an actor and musician, S. I. Gates was a stage mechanic/machinist/carpenter. The elder Gates worked in the St. Louis theatre community for over fifty years. I am briefly including his story, as it provides the best context for Frank E. Gates’ early training in scenic art and the theatre.
Born in 1826, Sigismund Gates started life as a carpenter. By the age of twenty-six, he was employed as a ship joiner in Buffalo, New York. In 1850, he was married to Jennet Eunice Brayman, and living with their infant daughter Mary Agnes Gates in New York. On March 15, 1851, their young daughter passed away and death continued to follow Gates over the next few years. By 1854, Gates not only suffered the loss of his daughter Mary, but also the loss of his wife and two young sons, Charlie and Horatio. Only his 3-yrs.-old daughter, Matilda J. Gates, survived. Father and Daughter moved west to start a new life. On July 21, 1855, Sigismund married Louisa Maddern (1832-1900), in Detroit, Michigan. Louisa was Frank and Richard Gate’s biological mom. After being married in Detroit, the young couple settled in Iowa. An Iowa State Census from 1856 listed Sigismund, Louisa, and Matilda J. living in Jackson, Iowa. Soon, the small family relocated to Illinois where Ernst and Grace Gates were born.
By 1860, the Gates moved again to St. Louis, Missouri, where Sigismund continued to work as a stage carpenter. At the time, the family was living on the same street as many other carpenters, machinists and architects. The 1860 US Federal Census listed the Gates household as including: Sigismund (34), Louisa (28), Matilda (9), Ernst (3) and Grace (1). Another daughter, Emily, was born shortly after the census, also in Missouri.
By 1861, the Gates were living in Keokuk, Iowa, where Sigismund enlisted in the Union Army on August 2. He enlisted as a musician, playing in the band of the Iowa 6th Infantry for just over a year. Sigismund completed his military service on August 16, 1862. In Keokuk, Francis Edgar Gates was born on July 12, 1864. After the Civil War, the Gates returned to St. Louis, and Sigismund to theatre work, both performing and building. Living on 20th street, between Market and Estelle, he became associated with the Varieties Theatre. He was soon listed as their official stage mechanic, working with scenic artist Thomas C. Noxon. On Dec. 30, 1866, the “Daily Missouri Republican (St. Louis, page 3), reported, “VARIETIES THEATRE- The great spectacle of Sadak and Kalasrade, produced in a scale of magnificence never before witnessed on any stage. The scenery by T. C. Noxon, machinery by S. I. Gates…” By 1867, Sigismund I. Gates was still listed as a stage carpenter at the Varieties Theatre.
Machinist S. I. Gates and scenic artist T. C. Noxon then became associated with the Olympic Theatre by 1868. The two remained there for the next three decades. On Sept. 7, 1873, the “Missouri Republican” listed Noxon and Gates as part of the Olympic Stock Company (page 6). They continued working together until Noxon’s passing in 1898, yet Sigismund remained as a stage carpenter at the venue, still listed as part of the staff from 1899 until 1903 in “Julius Cahn’s Official Theatrical Directory.”
The Gates and Noxon connection cannot be underestimated in terms of theatrical networks.
I have written quite a bit about Noxon (1829-1898) in the past. He was nationally recognized for his scenic artist and electric parade float designs, as well as establishing the scenic studios of Noxon & Strauss; Noxon, Halley & Toomey; Noxon, Albert & Toomey; and Noxon & Toomey. All the while, he worked with Sigismund Gates as his stage carpenter. Here is a past post that shares some of Noxon’s accomplishments: https://drypigment.net2018/07/28/tales-from-a-scenic-artist-and-scholar-part-462-thomas-c-noxon-of-noxon-toomey/ At the time of Noxon’s passing, the “St. Louis Post-Dispatch” reported, “Mr. Noxon for years had been considered one of the foremost scenic painters in the country and his work can be seen in almost every prominent theater in the United States” (21 June 1898, page 7).
In addition to his association with Noxon, Sigismund was also a leading member in the Theatrical Mechanical Association of the United States and Canada. On Jan. 13, 1889, the “St. Louis Post-Dispatch” announced the upcoming “Theatrical Mechanics Ball.” The article noted, “The ball is in the hands of a committee consisting of S. I. Gates, delegate to the Grand Lodge, Secretary Louis J. Horn and Treasurer Andrew Fueger.” The annual masquerade ball of the Theatrical Mechanical Association was held at the Masonic Hall, located at Seventh and Market Streets. Sigismund was still actively involved with the organization in the 1890s. By 1895 he was president of the St. Louis lodge for the organization. That year the Convention of the Grand Lodge of the Mechanicians was held at Havlin’s Theatre, St. Louis.
Sigismund continued to work backstage until his passing in 1906. His obituary was published in the “St. Louis Dispatch,” on Feb 9, 1906:
“GATES – On Geb. 8, at 2 P.M. Sigismund I. Gates at the age of 80 years. Funeral will take place Saturday, Feb. 10, under auspices of Missouri Lodge No. 1 A.F.&A.M., at 3p.m. from the funeral parlors of Theodore W. Paschedag, 2816-2826 North Grand Avenue. Relatives and Friends invited to attend.”
In addition to a theatrically-connected father, Frank’s mother was also part of the American Theatre. As a member of the Maddern family, she was related to the musician, Richard Maddern (father), and performers: Amelia Maddern Hodges (sister), Elizabeth “Lizzie” Maddern (sister), Minnie Maddern Fiske (niece) and Emily Stevens (niece).
These theatrical connections and familial ties made Frank Gates an incredible asset at Sosman & Landis in 1885. The firm relied upon well connected artists to help secure contracts across the country, based on their individual reputations alone. Gates not only had the theatrical connections, but also the academic training in fine art. This would set him apart from many of the other scenic artists at Sosman & Landis at this time. Both he and his brother Richard attended the St. Louis School of Fine Arts at Washington University in St. Louis, both completing four years at the university.
The 1880 US Federal Census listed Frank as a University student, living with his parents at 1315 N. 7th St. At this time, the household consisted of S. I. Gates (55), Louise (47), Ernst (22, son), Grace (21, daughter), Emily (19, daughter), Frank (16, son), Richard (7, son), and Robert Essex (16, orphan). Years later, the childhood of Frank and Richard Gates was repeatedly recalled in various newspaper articles. In December 1927 an article published in “The Scenic Artist” commented, “they were practically brought up on theatre from almost infancy, being in a family of theatrical managers, musicians and actors, it was natural that the stage should appeal to them” (Vol. 1, No. 8, page 8).
The Gates children were certainly familiar with the productions at the Olympic Theatre and the scenic art of Noxon. Early scenic art training was almost certainly under the tutelage of Noxon at the Olympic Theatre. After early work as an assistant scenic artist, Frank landed a position at Pope’s Theatre in St. Louis. Already by age of eighteen, Frank Gates was listed as an artist in the “St. Louis City Directory,” although still living at his parents’ home on 1315 N. 7th St. By 1883 Frank Gates, was living on his own at “ws. 7th, nr. Cass av.” Two years later, he was living at 414 Olive in St. Louis, consistently listed an artist in the city directory.
Frank was twenty-one years old when offered a position at Sosman & Landis Scene Painting Studio in Chicago in 1885. On July 12, 1885, the “St. Louis Globe” announced, “Mr. Frank Gates, who has been the scenic artist at Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself at Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). For a little theatrical context, Charles Pope (of Pope’s Theatre) worked as manager at the Metropolitan Theatre in Indianapolis (1868), Coates Opera House in Kansas City (1870-1871), the Olympic Theatre in St. Louis, Missouri (1870-1876), the Varieties Theatre in New Orleans (1876-1877), Pope’s Theatre in St. Louis (1879-1887), and the Oriental Theatre in St. Louis (1895). So, Pope worked with Sigismund Gates at the Olympic Theatre, where he would have first encountered Frank’s as a young paint boy and later scenic art assistant.
After Frank left Pope’s Theatre and moved to Chicago in 1885, he met and married Malinda Jane Neal (1866-1945). The couple was married in Milwaukee, Wisconsin, with the ceremony taking place on September 8, 1886. At the time, Frank’s residence was listed as Chicago and Malinda’s as Keokuk, Iowa. Frank continued to paint in the region, but was not always listed in the “Chicago Directory.” Interestingly, a regional branch of Noxon, Albert & Toomey was established in Chicago and also listed in the 1887 “Chicago Directory.” Frank’s future business partner Morange was consistently listed in the Chicago Directory during the 1880s and early 1890s.
In 1887, however, Frank Gates was painting in Kansas City, Missouri, for another former Sosman & Landis employee, Lemuel. L. Graham. Graham actually ran a regional branch for the Chicago-based firm. It is possible that Gates was still working for Sosman & Landis at the time, as part of the regional studio supervised by Graham. Gates continued to work for Graham in Kansas City throughout the duration of 1888.
By 1890, Frank returned to Chicago, and was listed as an artist, living at 334 W. Van Buren. This gets a little confusing, as there was also a Frank A. Gates working as a painter in Chicago, completely different person and address though. Supposedly, Gates met Morange in 1894, however, they likely met at Sosman & Landis long before that time; the scenic art world in Chicago was very small, especially for those employed at Sosman & Landis. Historical accounts suggest that they studied fine art during the day and painted scenery together at night. It is very likely that the two were still sporadically employed at Sosman & Landis.
When Frank’s younger brother, Richard H. Gates, came of age, they began working together. The two briefly moved to Philadelphia between 1897 and 1898. In 1897, Frank, Richard and Morange established Gates & Morange Studio, completing their first Broadway Design in New York that year – “Straight from the Heart” by Sutton Vane and Arthur Shirley. I have written quite a few posts about Gates & Morange. Here are links to two of them for more information: https://drypigment.net2017/08/27/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-190-gates-morange-creators-of-things-novel-and-beautifull/
and
In New York, Gates & Morange became a success, with the demand for their services and scope of their projects continuing to increase. The scenic studio of Gates & Morange became one of the premiere scenic studios in the United States by the early twentieth century, delivering stage settings for dozens of Broadway shows. Throughout the duration of Gates & Morange; Morange was the primary visionary and traveler, gathering source material for their designs. Gates managed the studio and the contracts. Scenic artists who worked for Gates at their firm included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri.
On Feb. 7, 1907, the “New York Time” announced the incorporation of “Gates & Morange, Inc., North Pelham (stage settings) capital $100,000, Directors – F. E. Gates, Tuckahoe; E. A. Morange, Mount Vernon; R. N. Gates, Bronxville.” (page 13). Morange was also integral in establishing the eastern affiliate of Sosman & Landis, New York Studios shortly after incorporating Gates and Morange. This secured and unspoken jurisdictional agreement with both New York Studios and Sosman & Landis. In 1910, David H. Hunt, Secretary and treasurer of Sosman & Landis, established New York Studios. He was one of the initial stockholders; at the beginning the firm’s stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.
The New York Public Library also has a Gates & Morange Design Collection (c. 1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions. The Gates and Morange Designs Collection is part of the Billy Rose Theatre Division Repository, Archives & Manuscripts, New York Public library. The following excerpt is from the online descriptor of the collection –
“[Gates & Morange] designed scenery for more than 50 productions over four decades, additionally painting and supplying countless others. Clients included Liebler Co., Florenz Ziegfeld and George C. Tyler. Designers included Thomas Benrimo, William E. Castle, Richard Gates (brother of Frank), Charles Graham, Alexander Grainger, Arne Lundborg, Orestes Raineiri, and Edward Morange… Original set designs, curtain designs, drops, and olio designs, mostly color, produced by the Gates and Morange studio over four decades for theatrical productions and for businesses, trade shows, and several exhibitions. Although most of the designs are undated, the bulk of the collection appears to date from the 1920s. Among the more than 75 productions included are The Daughter of Heaven by Pierre Loti (ca. 1912); Dolce Napoli (ca. 1913); Earl Carroll Vanities (1923); For Valor by Martha Hedman and H.A. House (1935); Gridiron Club productions (1935); An International Marriage by George Broadhurst (ca. 1909); The Lady of the Lamp by Earl Carroll (1920); Music in the Air (musical), music by Jerome Kern, with designs by Joseph Urban (1932); Nancy Brown (musical), music by Henry K. Hadley (ca. 1903); Song of the Flame (musical), music by Herbert Stothart and George Gershwin, with designs by Joseph Urban (1926), and a number of Ziegfeld productions. Of particular note is Rose-Marie (musical) by Otto Harbach and Oscar Hammerstein II (1924), which includes 3 photographs, showing the development from an initial photograph to the scenery in place on the stage (1924). There are also a few studio plans and research materials in the collection.” Here is the link to this Gates & Morange collection: https://archives.nypl.org/the/22927.
There is so much more, but I am going to stop here.
Frank Gates passed away on Dec. 18, 1952, in Bronxville, New York. He is buried at Ferncliff Cemetery and Mausoleum in Hartsdale, New York (Ferncliff Mausoleum, M06TN, D, A, 13).
To be continued…
