Copyright © 2021 by Wendy Waszut-Barrett
Will Hamilton worked as a scenic artist for Sosman & Landis during the early 1890s. He continued to sporadically work with the firm over the years, and even partnered with Thomas G. Moses from 1900 to 1904. Like many of his contemporaries, Hamilton was not only a skilled painter, but also a stage mechanic well-versed in scenic spectacle.
William Franklin Hamilton was born on Dec. 11, 1864, in Warren, Ohio. He was the only son of William F. Hamilton, Sr. (1840-1906) and Mary Ann Moffett (1842-1922). His three younger sisters were Emma (1867-?), Carrie (1871-1957), and Nellie (1878-1946).
The 1870 US Federal Census listed the Hamilton family as living in Harmony, Pennsylvania. At the time, their household included William F. Sr. (30 yrs.), Mary A. (30 yrs.), Charles (9 yrs.), William Jr. (5 yrs.), Mary (3 yrs.), and maternal grandmother Elizabeth Moffet (54 yrs.).
A decade later, the family was still living in Pennsylvania, but had moved to Bradford. In Bradford, William Hamilton Sr. worked as a carpenter. “Willie” Hamilton was 15 yrs. old at the time and working as a clerk. It remains unclear as to exactly when Hamilton commenced his career in scenic art, however, by 1887 he was working as a scenic artist in Lancaster, Pennsylvania.
On June 15, 1888, the “Northumberland Country Democrat” of Sunbury, Pennsylvania, reported, “W. F. Hamilton, of Lancaster, a scenic artist, is in Sunbury on business” (page 1). He did not remain in Pennsylvania for long, moving to New York later that summer. On August 1, 1888, an article in the “Pottsville Republican” reported, “W. F. Hamilton, a scenic artist, of New York City, is domiciled at the Merchants’ Hotel. He is at work on a 5×5 feet lawyers card with a view of Tumbling Run in the center, which he is placed at the Court House” (page 4).
Hamilton’s travels throughout the region continued that year and included Staunton, Virginia. The “Maysville Evening Bulletin” published his endorsement for a local photographer on Jan. 25, 1888 (page 2). The endorsement stated:
“Kackley’s Photos.
Staunton, VA., Jan. 23, 1888.
Editor Maysville Daily Bulletin – During a recent stay in your enterprising little city, I had some cabinet photos taken at Mr. Kackley’s gallery and, as an artist, I take much pleasure in saying that the pictures that I received to-day reflect much credit on Mr. Kackley, the style and finish being most excellent.”
By 1890, the “News Herald” of Franklin, PA, announced his visit. On August 13, 1890, the section entitled “Our Card Basket” reported, “Mrs. W. F. Hamilton, of Johnstown, and her son, W. F. Hamilton Jr., have been the guest of the lady’s brother, B. Moffett. The son is a rising young scenic artist of New York city. He left this morning for Nashua, N. H.” That same day, the “The Oil City Derrick” reported, “Mrs. W. F. Hamilton, of Johnston, and her son, W. F. Hamilton, Jr., scenic artist of New York City, are visiting the residence of Mrs. Hamilton’s brother B. Moffett. Will, who is a former Oil City boy, has established quite a reputation as a scenic artist. He says he has more work than he knows how to get through with, but stole a few days to visit friends and relatives in the Oil Regions, He leaves Wednesday for Nashua, N. H.” (page 1).
By 1892, Hamilton was working in Boston at the Bowdoin Theatre. On Feb. 14, 1892, the “Boston Sunday Globe” credited Hamilton and Arthur H. Davis as painting the stock scenery, including two interior settings. The official scenic artists for the venue were former Sosman & Landis artist Henry C. Tryon and A. H. Davis. Tryon passed away that summer. On September 5, 1892, the Personal Section of the paper included, “W. F. Hamilton, the scenic artist, is again in this city, after having finished his contract placing two curtains in the Academy of Music at Pittsfield” (page 4).
Moses first met Hamilton in 1892 when they worked together on the models and scenery for “Ben Hur,” a touring pantomime tableaux. By 1894, Hamilton married Susie A. Howes (b. 1874) in Boston, Massachusetts. Their marriage certificate confirmed Hamilton’s birthplace as Warren Ohio, and his occupation as “artist.” Little is known of Suzie, other than she was from Belchertown, and that her parents were Frank H. and Ellen V. Howes. The couple was married by a Justice of the Peace. I have yet to find any divorce records, but their marriage did not last. By 1906, William married his second wife, Elizabeth (b.1878).
Like many scenic artists, Hamilton worked all over the country on a variety of projects, especially along the eastern seaboard. By 1896, Hamilton was associated with both the Standard Theatre and Star Theatre in New York, yet continued to travel for work. Hamilton painted scenery for the Thalian Hall in Wilmington, North Carolina in both 1896 and 1899.
On August 29, 1896, the “Wilmington Star” reported, “Mr. F. C. Peckham, of New York, assistant to Mr. W. F. Hamilton scenic artist and stage manager of the Standard Theatre, arrived in the city yesterday and will commence work at once on the scenery and new drop-curtain at the Opera House “ (page 1). The “Wilmington newspaper” later reported:
“Everything is now in readiness at the Opera House for the opening of the season. To use a trite expression, the new drop curtain which has just been completed by the well-known scenic artist, Mr. W. F. Hamilton, of the Standard Theatre, New York, city, is ‘out of sight.’ The new curtain is a very handsome one. The large centre scene represents the coast of Cornwall, showing the high cliffs, upon the tops of which are the homes of the fishermen and natives of this dangerous coast. Mr. Hamilton and his clever assistant, Mr. F. C. Peckham, showed a STAR reporter yesterday several superb set scenes, which they have just completed, in conjunction with the curtain, for the management of the house. The handsome old curtain, which has for many years past done excellent service, has also undergone repairs, and has thrown off its roller and will “slide up” like its companion.” In other words, Hamilton transformed the original 1858 drop curtain by Russell Smith into a fly drop.
In 1897, W. F. Hamilton was listed as a scenic artist in the “Boston Directory.” He was living in room 20 at 611 Washington. From 1898 to 1899 he remained in Boston and was listed as the scenic artist for the Columbia Theatre. On March 10, 1899, “The North Adams Transcript” in North Adams, Massachusetts, published an article entitled “Columbia Scenery and New Exit” (page 5). The article noted, “The trustees of the F.M.T.A. society awarded the contract to Hamilton to complete the work. Of Hamilton as an artist, the article continued, “He has an excellent reputation, and will provide a complete set of scenery, with drop and fireproof curtains. It is expected that some of the scenes will be more elaborate than anything the house has had.” While in the city, he completed numerous projects, including holiday window displays for C. E. Osgood (“Boston Sunday Post,” 12 Dec., 1897, page 15) and Jordan Marsh & Co. (“Boston Daily Globe,” 5 Dec. 1898, page 8).
In 1898, Hamilton delivered stock scenery to the Gem Theatre at Peaks island in Portland, Maine. On June 3, 1898, the “Portland Daily Press” reported, “In addition to the large stock scenery originally purchased there have recently been painted by W. F. Hamilton of the Columbia in Boston, a full oak, a rococo parlor and colonial sets all of which are intended for the opening night and from time to time further additions will be made by the scenic artist as occasion demands” (page 7).
William F. Hamilton was also an inventor of stage effects. Manager Charles H. Yale purchased Hamilton’s “The Dance of the Elements” in 1900. Hamilton’s attraction was added to Yale’s annual production of “The Everlasting Devils Auction.” Yale created a new edition of the production each season, advertising, “New and timely matter, clever novelties, original ideas in scenery and costumes, imported and native artists in all branches of the profession, sumptuous ballets and features that were exclusive to this attraction” (“The Montgomery Advertiser, Montgomery,” Alabama, 14 Sept. 1902, page 11). By 1902, the “Everlasting Devil’s Auction” announced its twenty-first edition. Each year, announcements advertised that existing acts were replaced with “new ideas, features, scenery, costumes, and mechanical effects.”
The “Indianapolis Journal” reported, “Mr. Yale has bought outright from the Inventor, W. F. Hamilton, for presentation solely with this attraction, a new electrical sensation entitled ‘The Dance of the Elements.’ The paraphernalia employed in this scene are elaborate and intricate, and is developed by two clever dancers, who, costumed as the Elements Pirouette among real rain, snow, gold storms and cyclones, these effects being aided by the introduction of a number of new ideas in electric lighting and a multiplicity of harmonious coloring, abetted by special scenic investiture, forms one of the most beautiful light and color ideas that has yet been discovered for theatrical use” (“The Dayton Herald”, 28 Nov. 1900, page 7).
The sale of this invention occurred the same year that Moses partnered with Thomas G. Moses to establish a scenic studio. From 1900 to 1904, the two ran a very successful studio in New York, creating stage shows and amusement park attractions. Moses & Hamilton operated a scenic atusio at Proctor’s 125th Street Theatre. Their staff included Ed Loitz, Otto Armbruster and Al Robert. Projects were plentiful, and consistently spread across three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125th Street Theater. Moses was the lead scenic artist at the American Theater, Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Roberts was the lead scenic artist at Proctor’s 125th Street Theatre.
For three years, Moses & Hamilton secured almost more work than they could handle, producing scenery for opera, vaudeville, and other entertainments. Their work for Frederick Thompson at Luna Park included “A Trip to the Moon,” “20,000 Leagues Under the Sea” “War of the Worlds,” and “Fire and Flames.” A few of Moses & Hamilton’s Broadway designs included “Under the Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey” (New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand Opera House from August to September, 1904), “The Medal and the Maid” (Broadway Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls” (Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904). Their work was sought after by Helena Modjeska, John C. Fisher, Henry Savage, and other well-known theatre personalities.
The partnership ended when Joseph S. Sosman and David H. Hunt lured Moses back to Sosman & Landis’ Chicago studio in 1904. When Moses returned to Sosman & Landis, he was promised complete control over design, construction, and delivery of all projects, plus a share in the company. Moses recorded that Hamilton was devastated with the closing of their business, writing, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it, as he saw his meal ticket slipping away.” In addition to numerous theatre installations, Moses & Hamilton had created several outdoor attractions to Coney Island, including “Trip to the Moon,” “20,000 Leagues Under the Sea,” “Fire and Flames,” “The War of Worlds,” and many others. They also designed and ran the own Coney Island attraction, “The Devil, the Man and the Maid.” As with “The Dance of the Elements,” this successful design was purchased by another manager to run.
Hamilton continued to focus on amusement park attractions after Moses headed back to Chicago. In 1904, “The Courier” reported, “W. F. Hamilton, the well-known scenic artist has secured a large tract of land in Winthrop, Mass., facing on the water, where another Luna Park will be created on a more extensive and elaborate scale. A syndicate of capitalists is going to assist Mr. Hamilton in promoting the affair, and by next May, Boston will have a summer place of amusement larger and finer than anything on exhibition at Coney Island. Architects are now busy completing the plans, and the work is expected to begin within a week. The eccentric character Verno, says we are to have Luna Park, a ‘Pike’ or something of the kind on Island Park next summer. The only evidence of it is the stone ‘pier’” (Harrisburg, PA, 13 Nov. 1904, page 9).
In 1906, Hamilton had moved to Pittsburgh and was working on another amusement park. On February 4, 1906, the “Pittsburgh Press” reported, “Manager W. F. Hamilton, of the Dreamland Amusement Co., of this city, has had a force of men at work preparing the foundations and sewering the tract of 20 acres in readiness for the actual building of the array of palaces and other features as soon as Old Sol begins to beam his loveliest in springtime…In W. F. Hamilton, the projectors of the new park have a man who is not only excelled in his line of amusement park promoter int his country. He is not only a practical contractor, but he is a finished scenic artist and constructor, and in addition has some expert knowledge of the laying out of landscape gardens. He was associated with Thompson & Dundy in the first production of their spectacle “A Trip to the Moon” as designer and constructor.” On Feb. 18 of that same year, the “Pittsburgh Press” added, “W. F. Hamilton of New York, who has built a number of such great playgrounds, and who is a scenic artist of national reputation, has charge of the latest Pittsburgh Park project” (page 22). The new pleasure land on Jacob Weinman’s property, was called “Dream City and promoted as a “veritable fairyland of color light and architecture.” Weinman, of Pilkinsburg, was the president of the Dreamland Amusement Co. of Pittsburgh and W. F. Hamilton, the manager. Besides the standard amusement park attractions at Dream City, a picnic ground was planned, with rustic bridges, pavilions, and benches, to “bring delight to the seeker after pleasure and nature alike.”
By the end of the year, Hamilton also established the Pittsburgh Sportsman’s Show Association, becoming the vice president and general manager of the organization. He remained in Pittsburgh for a few years. In 1906, he married his second wife, Elizabeth Baylor, there. Elizabeth was quite a bit younger than, born in Philadelphia on March 6, 1878. The daughter of Theodore Baylor (b. 1849) and Catherine Rass (b. 1849).
By 1907, Hamilton was associated with the Alvin Theatre in Pittsburgh, listing the venue as his business address in local advertisements for stage equipment.
{Insert Hamilton Ad]
In 1907 Hamilton also began working as a salesman for Messmore & Damon Inc., and was still representing the company as a salesman in 1919 when he traveled to Cuba for the firm.
On Oct. 23, 1908, “The Oil City Blizzard” of Oil City, Pennsylvania, announced, “W. F. Hamilton, a scenic artist, of Pittsburgh, is in the city assisting in the preparation of floats for the Halloween celebration” (republished on October 23, 1948).
The 1910 US Federal Census listed William F. Hamilton as a sign painter in the Theatre industry, living with his second wife Elizabeth Hamilton (32) and his Mother-in-law Jane McNally (69) at 957 Fox Street in the Bronx, NY.
In 1914, Hamilton painted scenery for the big Actor’s Fair at “The White Rats” clubhouse on West Fifty-sixth Street, New York. On May 16 the “New York Clipper” reported, “A complete scenic equipment, transforming every interior of the main floors and roof of the building, electric multi-colored illuminations inside and out, gay bands on the walk outside and myriad gay novelties within are all comprehended in the preparations already completed. W. F. Hamilton, scenic artist, has painted several thousand feet of profile and hanging effects for the carnival. These began at the entrance with a miniature but practical reproduction of an average one-night stand town hall, which is equipped with the average town hall’s complement of scenery, will be presented every afternoon and evening, ten-minute tabloid satires of a half dozen or more of the hoary old-time ‘mellera,’ with ‘Uncle Tom’s Cabin,’ ‘East Lynne,’ ‘Ten Nights in a Bar Room,’ ‘The Silver King,’ ‘The Lights of London,’ and the ‘Corsican Brothers’ included” (page 3).
In 1915, the New York State Census listed William F. Hamilton and his second wife Elizabeth Hamilton living in New York. William was listed as a 50 yrs. old artist and Elizabeth as a 37 yrs. old vocal teacher. That year, their only daughter, Betty Clare was born.
In 1918, Hamilton was again working with Moses, but this time in California. Moses wrote, “I made a lot of models and sketches for floats for Labor Day. Hamilton came out from New York to superintend the work. He always drops into a fat job somewhere.” Their project was designing and building floats for the San Francisco Labor Day parade.
In November 1919, Hamilton was still living in New York when he applied for a passport. His application included a letter from Messmore & Damon, “artistic creators in ornamental plaster,” located on Ninth Avenue:
“Secretary of State
Washington, D.C.
Dear Sir,
Referring to the application for a passport to visit Havana, Cuba, made by W. F. Hamilton. Mr. Hamilton is making the proposed trip in our interests for the sale of our products and such contracts as he may be able to secure for floats and decorations for their annual celebration in February. Our association with Mr. Hamilton dates from 1907.
Yours respectfully Messmore & Damon Inc. President. G. H. Messmore.
Hamilton’s passport application noted that in the past he had resided outside of the US for two days (Canada) in August 1919. In 1919, his permanent residence was listed as 409 Bedford Ave. Mount Vernon, NY, and he needed a passport to conduct business in Cuba. Hamilton was planning to spend 6 months in Cuba.
The 1920 US Federal Census listed William F. Hamilton living with his wife Elizabeth (42), daughter Betty (4) and mother-in-law Jane McNealy (also McNelly/McNally – 80). He was working in the “Decorator” industry. About this time, Hamilton shifted his focus and headed to the West Coast.
In California, Hamilton saw the potential for an ever-increasing number of opportunities associated with the Masonic Fraternty. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920. The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.
By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year. The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (“Sacramento Star,” 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”
Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15). The article continued, “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4). The Municipal Auditorium once hosted the Oakland Shrine Circus.
Moses continued to visit with Hamilton whenever he was working on a project near San Francisco. Over the years, Hamilton continually urged Moses to move west. Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.” Moses consistently landed work in California and visited his friend. In 1925 Moses wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.”
The 1930 US Federal Census listed William F. Hamilton as an artist in the newspaper industry, living with his wife Elizabeth C. (52 yrs.) and daughter Betty C. (14 yrs.) at 751 El Camino Real.
In 1936, Hamilton was still working as an artist, now living at 3404 Clay. He and his wife were listed as Republicans in the California Voter registration, San Francisco. Mrs. Elizabeth C. Hamilton was working as a musician. By 1938, all of the Hamiltons were listed as Democrats. Mrs. Elizabeth C. Hamilton was employed as a teacher, and Miss Bettyclare Hamilton was an artist. They were all living at 110 20th Ave. in San Francisco.
In 1940 the US Census listed the Hamilton household as including: William (75 yrs. old, commercial artist); Elizabeth (62 yrs. old, vocal teacher); and Betty Clare (25 yrs. old, art teacher). They were still living at the same house in San Francisco.
Hamilton passed away only a few years later, on Nov. 7, 1943. His obituary was published in “The San Francisco Examiner” on November 9, 1943 (page 15). It announced, “HAMILTON – In this city. Nov. 7, 1943. William F., beloved husband of Elizabeth C. Hamilton, loving father of Batty Clare Hamilton. Funeral Services will be held Tuesday afternoon. 1 o’clock, at the mortuary of Halsted & Co., 1123 Sutter St., near Polk.”
On Nov. 9, “The Times” in San Mateo reported:
“WILLIMAM F. HAMILTON.
Funeral services were held this afternoon for William F. Hamilton, for many years a resident of Burlingame, who died on Sunday. Surviving members of the family are the widow, Mrs. Elizabeth C. Hamilton, the well-known vocal teacher, and a daughter, Betty Clare Hamilton. The Hamilton residence was at 751 El Camino Real. Mr. Hamilton was an artist who made study of Indian relics a hobby and of which he had a large collection.”
To be continued…
