Copyright © 2022 by Wendy Waszut-Barrett
This is my last Sosman & Landis employee biography – number 100!
I began this journey on March 28, 2021, with the story of Frank Landis, Perry’s younger brother and salesman for the firm. At the time, I had a few dozen names and planned to spend only a couple months researching and writing biographies. Fortunately/unfortunately, new names continued to pop up all over the place as I read newspaper articles and searched various databases. Never in a million years could I have anticipated writing one-hundred biographies over the course of twenty months.
As planned, I have a garnered a great sense of the various personalities who passed through the studio over the course of several decades.
This last employee – A. M. Paton – ties many loose ends together. I first encountered Paton in a Sosman & Landis newspaper article while researching George Wood and Lawrence Donohue. His tale really sums up the experience of so many artists who left everything familiar and settled in the United States during the 1880s. In my opinion, this particular decade was a golden era – the perfect time to begin work as a scenic artist in America. There was a greater demand for scenic illusion than scenic artists to paint it, especially in the western United States where the construction of new theaters offered endless opportunities and high profits.
Paton, like both Joseph S. Sosman and Perry Landis, also invested in a variety non-theatrical business endeavors. I have now encountered numerous artists who dabbled in newspapers and real estate. How brilliant, as good publicity and a good location remain key to the success for many artists and businessmen.
From Newcastle-on-Tyne, England, to Ulysses, Kansas, in the United States, here is Paton’s tale.
Alexander M. Paton was born in Edinburgh, Scotland, in 1858. He was the son of Alexander Paton Sr. (1818-1894) and Margaret Russell (1820-1891). One of ten children born to the couple, his siblings included: Jane (b. 1843), Genia (b. 1844), John (b. 1845), William (b. 1847), Elizabeth (b. 1848), Mary (b. 1849), Agnes (b. 1850), Margaret (b. 1855), Robert (b. 1860) and Richard (b. 1963). Between the births of the two youngest sons, Robert and Richard, the Paton family moved from Edinburgh, Scotland, to Berwick upon Tweed, England. Berwick is a town at the mouth of the Tweed River, approximately 56 miles southeast of Edinburgh and 65 miles north of Newcastle upon Tyne. For geographical context, the Tweed River is the demarcation line between Scotland and England along the east coast of each country.
Paton came of age working for his father in Berwick. He worked alongside his younger brother, Robert, in their father’s bookstore. A. Paton & Sons, bookseller, was located at 51 High Street in Berwick-on-Tweed in England. The 1879 Post Office Directory of Durham and Northumberland listed Alex Paton as a stationer in on High St., Berwick-on-Tweed, with the Trade Section of the Directory listing Paton as a bookseller – A. Paton, High St., Berwick-upon-Tweed. Berwick’s town center is Mary Gate and High Street, placing the Paton’s in the center of town.
The 1881 England Census listed the Paton family living at 49 Mary Gate, listing Alexander Paton Sr. as a bookseller and printer. The occupations of his three sons were as follows: Alexander Paton Jr. (23 yrs., bookseller), Robert R. Paton (20 yrs., printer and compositor), Richard Paton (18 yrs., chemist and druggist). Other members of the household at the time included Alexander M. Paton Sr. (62 yrs., bookseller and printer) and Margaret R. Paton (25 yrs., housekeeper).
Sometime in 1886, or early in 1887, Alex Paton Jr. began reading the “Grant County Register,” published in Ulysses, Kansas. Possibly sent by a friend, this newspaper was first published on July 21, 1885, for a town of approximately 500 settlers. At the time, A. Bennett was the editor and proprietor, with Charles D. Majors as the general manager. Grant County’s “Register” began as an eight-page folio, with the first number printed in Lakin, Kansas; the printing press was late upon its arrival to Ulysses. For geographical context, Ulysses is located in southwestern Kansas, about halfway between Wichita, Kansas. and Pueblo, Colorado; 45 miles southwest of Garden City, Kansas.
On June 1, 1887, the “Ulysses Tribune” reported, “A. M. Paton of Newcastle-on-Tyne, England, arrived in New York on the 23d ult., and is now located in Ulysses. He is an old friend of Harry King and T. D. Hind, who were glad to greet him.” Both Harry King (1858-1946) and Thomas D. Hind (1848-1940) were fellow Englishman. Hind moved with his family from England to Illinois in 1877, continuing west to settle in Kansas by 1878. King also emigrated with his family to the United States (by way of Canada) in the 1870s, settling in Kansas and starting a family by 1880.
On June 4, 1887, the “Grant Country Register” also announced Paton’s arrival (page 5). The article detailed, “A.M. Paton arrived Monday from Newcastle on Tyne, England, and is the guest of his old friends, Mr. and Mrs. T. D. Hind, of Riverside hotel. This is Mr. Paton’s first introduction to America, and he says it suits his taste better than old England. He read the Register across the waters, and the contents of the paper induced him to make the voyage. He was disappointed at every city he visited in Kansas except Ulysses, which agreeably surprised him. Mr. Paton will make this city his future home.”
Thomas D. Hind was part of the Kansas, Land, Loan, Irrigation & Investment Co. of Hutchinson County, Kansas.
Hind was named in advertisements in 1886 attempting to entice settlers to Surprise, Kansas promising, “the benefit of good schools, churches and the best of society” (The Surprise Post, 6 July 1886, page 8). Surprise was purportedly located twenty miles due south of Hartland. In 1886, Hind not only was an official agent for the Surprise Town Company, but also was proprietor for The Prairie Queen hotel there.
Hind’s ads in “The Surprise Post” stated:
“T. D. Hind,
Agent for the Surprise Town Company,
Is empowered to offer special inducements to investors. The lots have been placed at low prices, in order to build up the town and make money for the purchasers. Come early and secure choice lots in one of the most promising towns in Southwest Kansas. Correspondence solicited. Address T. D. Hind, Surprise, Hamilton County, Kansas.” (The Surprise Post, 10 June 1886, page 8).
Although Hind initially promoted the new town of Surprise, Kansas, he soon set his sights on Ulysses, Kansas. Ulysses is located approximately 14 miles south of Surprise
On Oct. 30, 1886, the “Grant County Register” announced, “T. D. Hind, formerly town agent of the Surprise Town Co. and landlord of the Prairie Queen hotel at Surprise, has rented and taken personal charge of the Riverside hotel, Ulysses, which he is giving a thorough renovation. Mr. Hind is an experienced hotel man and will run the Riverside in a creditable manner. The table is first class” (page 1).
Interestingly, Hind was not always popular with everyone.
I am including a few more articles about Hind to “set the stage” for Paton’s arrival in 1887. On Nov. 19, 1886, the “Garden City Daily Herald” included an article entitled “Pistol Practice” about Hind reporting:
“A shooting scrape occurred at Ulysses Wednesday between T. D. Hind and A. D. Hunt which came very near to resulting in the fatality as to the latter party. Hunt followed Hind into the post office and commenced abusing and applying all sorts of offensive ephithels to him when Hind pulled out his revolver and fired five bullets at him. The first two shots went into the ceiling, but the third and fourth shot struck Hunt in the right side, just under the arm, the bullet coming out of the back under the shoulder blade. Mr. Kiarney stepped in about this time and caught Hind, but was unable to control him until he had emptied his revolver. None of the shots, however, took effect. The shooting caused intense excitement. Hind was arrested by the constable, Daniel Springer, and was bound over to appear at the district court in the sum of five hundred dollars. At last accounts he had not succeeded in securing bonds and will probably have to go to jail. Mr. Hind has a wife and two children and is running the hotel at Ulysses. We are informed that he has but few friends in the community. It is thought that with good care Mr. Hunt will recover, although his wound is very painful and only missed the heart a few inches” (page 1).
On Feb 12, 1887, the “Grant County Register” reported, “We were glad to see T. D. Hind return to Ulysses Sunday. Mr. Hind was bailed out by the Ulysses Town Company” (page 8).
In the spring of 1887, Hind was living at his Riverside Hotel, but began to expand his real estate acquisitions. On April 16, 1887, the “Grant County Register” reported, “Joseph Bittiker’s house has been rented by T. D. Hind, of the Riverside, who will use it for sleeping accommodations for his numerous guests” (page 5).
Although Hind lived at the Riverside hotel, he was building a large home on the outskirts of town. During construction, his wife and children lived in a “shanty” at his land claim. On April 20, 1887, “The Garden City Sentinel” provided a little glimpse into Hind’s shanty (page 3):
“T. D. Hind went out to his claim with a covered hack to bring his family into town, and on arrival at the shanty he found his wife and children in a sad predicament owning to the water running into the house. The house is five feet in the ground. It was not made waterproof. Mr. Hind is building a fine residence on the southeast corner of the claim, in full view of Ulysses, Cincinnati and Surprise.”
A few months later, Paton was Hind’s guest at the Riverside Hotel. After deciding to stay in the area, Paton placed an advertisement for work in the “Ulysses Tribune.”On June 11, 1887, Paton’s advertisement listed that he was a “sign painter, decorator, and artist in oil colors [who] undertakes all kinds of work in this line. For moderate estimates apply at the Riverside Hotel.” His advertisement was also mentioned on the front page: “Read the advertisement of A. M. Patron, artist, in this issue.” There are a few things to consider. The first is that when Paton arrived in Ulysses (at the age of 29), he advertised himself as a painter. I highly doubt that he embarked on an entirely new career at this time. In other words, his advertisements as an easel artist, sign painter and decorative painter suggest some training and past experience in England.
On July 23, 1887, the “Grant County Register” reported, “Mr. A. M. Paton, who lately arrived in Ulysses from England, is in receipt of several letters from his father, who cannot for the life of him, in merry England, conceive how a habitable house can be built here for ten pounds. To give Mr. Paton’s inquiries, his surmises and doubts, would fill an interesting column. We ask him to address a letter to the Register.” This was the same paper that Paton first read in England, likely the same newspaper that was still being sent to his father’s bookstore. It indicates that his family knew where he was and stayed in contact.
Some of Paton’s earliest painting projects in the area were contracted by Hind. On June 15, 1887, the “Garden City Sentinel” reported, “A. M. Paton, a new arrival in Ulysses, from England, has a painted picture of the Riverside hotel and is at present engaged on one of Dr. C. B. Core’s new residences. Mr. Paton will also paint the signs for the new Edwards hotel.” Hind also owned and managed the Edwards hotel in Ulysses. He remained associated with the property until the fall of 1887, when “The Grant County Register” reported, “T. D. Hind has withdrawn from the management of the Hotel Edwards, his successor being G. S. Hoffecker.”
Paton’s name continued to appear in local newspapers, providing insight into not only his past life, but also his current activities in Kansas. On October 12, 1887, the “Ulysses Tribune” reported, “At the literary Wednesday evening, Mr. A. M. Paton read ‘Tam O’Shante’s Tale’ in the Scotch dialect. Mr. Paton is a native of Edinburg, and his rendition of this popular poem was easy and natural and the dialect perfect.” Here is a link to “Tam o’Shanter” by Robert Burns: https://www.scottishpoetrylibrary.org.uk/poem/tam-o-shanter-tale/
By the fall of 1887, Paton began to diversify his employment and investments in the region. On Nov. 9, 1887, the “Ulysses Tribune” announced, “Mr. A. M. Paton has accepted a position with this paper in the capacity of business manager, and will lend his time and labors toward increasing the patronage and circulation of the Tribune.” This was only six months after the newspaper was founded by George W. Perry, providing Paton with a wonderful opportunity to promote both himself and his various activities.
In addition to the newspaper position, Paton began investing in local business enterprises. On Dec. 21, 1887, the “Ulysses Tribune” reported, “A. M. Paton and Wm. Brown will erect a building on Central Avenue to be used as a barber shop and bathroom. Work is to be commenced at once.” The bathhouse opened, listing Paton as the sole proprietor. He placed a series of advertisements in the “Ulysses Tribune” for several weeks.
By the beginning of 1888, Paton began to travel throughout the region. On Jan. 21, 1888, the “Garden City Register” announced, “H. G. King, A.M. Paton and W.B. Rorick were in Garden City this week” (page 5). All the while, he continued to paint. On March 7, 1888, the “Ulysses Tribune” announced, “A. M. Paton has painted a very handsome sign for H. G. King’s real estate office” (page 1). By this time, Paton, King, and Hind were all investing in land. In the end, however, they failed to pay the necessary taxes and were subsequently listed as delinquent tax payers. This prompted a swift relocation for all parties involved.
By the fall of 1888, Hind and Paton had left town. In October, Paton put his house up for sale and moved west to Kansas City, Missouri. He placed advertisements for his frame house, measuring 12×16, in the “Ulysses Tribune”. The advertisement listed – “House for sale. A 12×16 frame house for sale belonging to A.M. Paton. House now located at the east end of Prospect Avenue, Ulysses. Will be sold cheap for cash. Apply at this office.”
Similarly, Hind moved from Ulysses to Hutchinson, Kansas. On Nov. 23, 1888, “The Larned Eagle-Optic” reported, “Mr. T. D. Hind, of Hutchinson, a professional dresser and trimmer, who learned the business in London, England, and subsequently followed it to New York and Philadelphia, spent last week in this city dressing the show windows and decorating the interior of the Boston Store, and completed the work in genuine metropolitan style, displaying rare genius in the artistic arrangement of draperies and the harmonious blending of colors. The Boston Store in consequence presents a most beautiful and attractive appearance, equal to anything that can be found in our largest cities. Mr. Hind, we are informed, will pay this city another visit shortly before Christmas and dress the Boston Store in its holiday attire” (page 3). There is absolutely no mention of his stay in Surprise, Ulysses, or any past land investments.
As for Paton, by the spring of 1889 he was living Kansas City, Missouri. Paton was listed in the City Directory as working at 124 Commercial block, and rooming at 717 Penn. He continued to take out advertisements, marketing himself as a Scottish artist.
On April 7, 1889, he advertised in the “Kansas City Times”:
“Personal – Alec Paton, artist, from Edinburgh, Scotland, gives lessons in oil painting morning or evening, 50 cents per lesson. Visitors are invited to the studio. Room 124, 1108 Main st.” For geographical context of the location, the W. W. Findlay art store was located a few doors away at 1112 Main. Findlay ran a well-known establishment, originally founded in 1870.
Paton continued to run advertisements that spring, each with a little variation:
April 16, 1889, “Kansas City Times” – “Aleck Paton, artist, teaches drawing and oil painting in a few lessons; 50 cents a per lesson, room 124, 1108 Main.”
May 15, 1889, “Kansas City Star” – “Aleck Paton, artist, gives lessons in painting daily; pupils always successful; exhibition of work shortly; visitors invited. Studio 1108 Main st.”
May 18, 1889, “Kansas City Star” – “Enlarge your own photographs life size – Crayon, pastel or oil portraiture taught in 5 lessons: proficiency guaranteed. Paton, artist, 1108 Main st.”
May 31, 1889, “Kansas City Star” – “A. Paton, artist, gives lessons daily in drawing, painting and art decorating; 3 hour lesson 50c; materials provided. Studio 1108 Main st.”
Paton did not remain in Kansas City for long, and moved to St. Louis, Missouri by the fall of 1889. Paton traveled quite a bit during his time, advertising in many other newspapers across the country, including the “Tarborough Southerner” in North Carolina, always listing his home residence as 1114 Olive Street.
In addition to offering art lessons, Paton began advertising “crayon portraits,” rapid sketches in pencil or charcoal. Paton’s new home and studio was located at 1114 Olive. He advertised in both St. Louis and St. Joseph newspapers. On March 16, 1890, the “St. Louis Globe-Democrat,” mentioned A. M. Paton performing as “the crayon artist” as part of the Arcade Club Entertainment at West St. Louis Turner Hall, located on the corner of Beaumont and Morgan streets (page 8). Paton’s artistic performance was listed alongside musical entertainment for the evening. His title as “crayon artist” changed to “lighting artist” the next month. On August 6, 1890, the “St. Joseph Herald,” listed Mr. A. M. Paton as a “Lightning Sketch Artist” who was part of Ideal Mandolin Club Plays program (page 7). Lightning artists were very popular at the time, recognized as stage performers who entertained crowds with quick sketches. Their performance often includes narrations by the artist and funny tales, while drawing, painting, or sculpting clay.
It was likely his Lightning artist act that brought him into contact with P. J. Toomey of Noxon & Toomey, St. Louis. Paton soon began representing the firm as a scenic artist and decorator. On April 6, 1891, “The Kearney Hub” reported, “Decorators Here. The opera house decorators did not arrive Friday as expected, but are here now. A. M. Paton, representing Noxon & Toomey, scenic artists, of St. Louis, and Messrs. Parquette and Coldewe arrived last night, The latter gentlemen were melting glue and grinding colors to-day, and to-morrow will begin the work on the ceiling. The foreman will be here ton-night” (page 3). He returned with Toomey for opening night at the Opera House and was again mentioned in “The Kearney Daily Hub” on May 2, 1891 (page 1): “In the other box of the second tier were seated P. J. Toomey, of Noxon & Toomey, the scenic artists, A. M. Paton, their representative here, and Miss Helen Harney.”
This is quite significant and indicates the value that Toomey placed on Paton’s work. It is unusual for a studio owner to very publicly attend an event with an employee unless that individual is a great asset to the firm. By 1901, Paton is still working with Toomey, listed as the Secretary of the Toomey & Volland Co. However, Paton’s employment as a scenic artist in America tales many twists and turns before that.
In 1892, Paton partners with another artist named Keller to establish Keller and Paton. The two place the following advertisement in the “St. Louis Globe-Democrat” on July 10, 1892 (page 20): “Keller & Paton, artists, studio, 307 Hagen Opera House, Specialty – Fine Portraits; inspection invited.”
There were quite a few Midwestern artists who shared he last name of Keller. However, the likeliest candidate seems to be Jacob Keller, a German-born artist who worked in St. Louis from 1880-1915. In 1880, Keller was listed as a fresco artist in the St. Louis Directory. He remained in St. Louis, working as an artist until his passing in 1915. Both of Keller’s son’s, Arthur and George, followed in their father’s footsteps and were listed as “sign writers” in the 1900 US Federal Census. In 1892, Jacob Keller was 45 years old, and Alexander Paton was 34 yrs. old.
A month later, the “St. Louis Globe-Democrat” mentioned Keller and Paton transparency paintings in an article entitled “Panorama of Light” –
“The illumination test last night was a magnificent success, and the down-town thorough-fares looked like street of Candy Town in Fairyland. Thousands upon thousands of many-colored globes shed their mellow lines upon the enchanted crowds that thronged to see them; electric lights almost without number flashed in gorgeous festoons from every meeting of the vast network of wires on Broadway, Twelfth and Olive streets, Washington and Franklin avenues; and dozens of colossal set pieces told in pictures of flame the story of the nation’s discovery, growth and prosperity. The beauty and colossal proportions of the display outrivaled anything ever before attempted in the world. For without electricity competition would be in vain; and the present is the most costly and extensive electric illumination ever contracted for.
The ‘test’ display of last night was begun a few moments before 7 o’clock and lasted until 8:30. The arches, gas and electric, on Broadway, Olive street, Washington and Franklin avenues were first turned on, making the several streets light as noon. The green arch of the Presidents on Broadway, between Pine and Chestnut, the transparency of the sailing and landing of Columbus on Broadway and Locust street and the accurate likeness of Washington at Broadway and the avenue of his name all inspired unbounded admiration. The Columbus portrait at Thirteenth and Olive streets looked natural as life. The painting of the transparencies was executed by Keller and Paton, and are really admirable from an artistic stand-point. The greatest terrestrial globe at Broadway and Olive was somewhat tardy in lighting up, but at 7:45 it began to whirl on its axis, and the oceans, islands and continents, sprung out in bold relief. The globe is the Kohinoor of the illumination. The Santa Maria arch at Twelfth and Market streets, vying for supremacy with the great globe in point of beauty, created a decided sensation when finally lit. The quaint old-style ship, riding over gloriously tinted waves- and waves. Too, that seemed to swell and heave in brisk gale – was a sight certainly unique. The statue of Liberty in a new dress of bronze lifted her blazing beacon to the world as patiently and proudly as during the last year.
“Owing to the fact that the final touches had not been put on the star of the Western World set piece at St. Charles and Twelfth streets and the Grants flags, these two prominent designs were not illuminated. The electric power was found to be more than enough on the ‘Globe’ at Broadway and Olive, many of the small incandescent burning out completely and a large rent being made in the surface of the miniature earth. When the grand affair began to hiss and sputter threateningly the big jam at the intersection of the streets below resolved itself into a panic-stricken mob. The wife of a real estate man fainted and fell to the pavement. But for the timely assistance of Officer N. C. Vaugn the lady would have been trampled to death by the throng. She was revived at a drug store and was none the worse for the experience. Two little boys were knocked down by horses on Twelfth street, near Olive, but neither were injured on account of the slowness of the beasts.
“It is estimated that fully 80,000 people were on the streets last night. Nothing like the throng has been seen since last year’s Veiled Prophet’s parade, and it is doubtful if the thoroughfares were more ‘jammed’ then. The next illumination will be given on September 1.
“The illumination was the occasion of a large number of visitors to the new Globe-Democrat building, while waiting the grand display of electric lights and gas-jets, took advantage of the opportunity to inspect the largest and most perfect newspaper establishment in the world. They were shown through the mammoth building and viewed with interest the complicated machinery and latest appliances of modern invention to be found in an office building, as well as the intricacies of the interior workings of a great newspaper” (August 16, 1892, page 12).
In St. Louis, Paton purchased a home. On Jan. 17, 1893, He was listed in “St. Louis Globe-Democrat” when he purchased a home from the Tuxedo Park Land improvement Company for $500 (page 5). With a St. Louis home, Paton became subject for other civil duties in the cities, including jury duty. In the end, he was excused as he was not a US citizen. The article “St. Louis Post-Dispatch” from April 24 announced, “Are Not Citizens.” The article continued, Alexander M. Paton, an artist living at 10 South Sixth Street, and John T. Mooney, clerk at Scruggs, Vandervoort & Barney’s, residing at 2215 Sidney street were summoned to act as jurors in the Criminal Court this morning, but were excused on the ground that they were not citizens of the United States.”
He continued to work as an artist, and became secretary of the St. Louis Sketch Club (18 Feb 1896, St. Louis Globe-Democrat, page 4). Paton continued performing on the stage too. A very interesting article about his sculpture work made newspapers across the country. On Dec. 11, the “Albany Democrat” in Oregon described Paton’s latest performance:
“We hear a great deal about mud slinging during a political campaign. The St. Louis Republic tells of a case of genuine mud slinging that is very interesting and beats politics at every corner. At am entertainment the unique feature of the program was a surprise sprang by Mr. A. M. Paton, the well-known artist. He was down on the program for lightning sketch and modeling, and after the usual display of rapid picture making he had his assistant bearing forward a table covered with about 50 balls of mud. Standing in front of the platform he began throwing the balls at the surface of his modeling board, and before the audience quite understood the meaning of the queer proceeding, he had shaped the conglomerate mass of clay into the shape and features of a human head and face. With a few rapid strokes of his deft fingers a wrinkled face appeared, with hollow cheeks and sunken eyes of old age, the sweep of a comb, and a matted beard and mustache was there on an aged face, leering from the board. The artist was greeted by surprise applause, and without removing the clay changed the plastic mass, into the typical faces of all the races of men. The Scotman, Irishman, negro, Englishman and Chinaman, gave way to the American Indian, and them to the well-known face of Uncle Same. The face presented was the common in the end to all, the grinning skull.”
Paton continued to return to England and appears on the Outward passenger lists from the UK and Ireland on Jan. 5, 1901; sailing on the Umbria. Paton continued to live and work in St. Louis where he remained associate with P. J. Toomey’s scenic studio. Remember that in 1891 he represented Noxon & Toomey.
On May 10, 1901, Paton was working for Toomey & Volland at the Stone City Opera House in Bedford, Indiana. On May 10, 1901, “The Bedford Weekly Mail” reported, “Mr. A. M. Paton, Secretary of the Toomey and Volland Scenic Co., of St. Louis, has for several days been placing the scenery upon the stage of the new Stone City opera House, for its approaching opening and future mission. By courtesy of Mr. Paton we were permitted to view the splendid array of scenery, and were lead into a full detail of its arrangement, which owing to the complete and modern construction of the house, the gentlemen claim, will make a most satisfactory showing when completed – which we were informed will be about the last of this week – will constitute one of the most elegant and perfect working stages in Indiana.
“The Toomey and Volland Scenic Co., of St. Louis, enjoys the distinction of being the first in scenic art and stage equipment, and the management of the new Stone City has been very fortunate in securing work of their execution, and their personal services in dressing the stage.”
There is a little backstory that will provide context for Paton’s work at Noxon & Toomey and Toomey & Volland in St. Louis. All of the players really shape Paton’s scenic art experience. Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He apprenticed himself to Thomas C. Noxon at Deagle’s Varieties. The two established Noxon & Toomey in 1869, with Ernest Albert joining them in 1881 to form Noxon, Albert & Toomey. Although it was a short-lived firm, it shows indicates the high quality of scenic artists passing through the studio doors at the time. At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14).
Noxon passed away in 1898, but the firm of Noxon & Toomey continued for the next threeytears. In 1901 the name changed to Toomey & Volland, reflecting the new second partner, Hugo R. Volland. Volland rose through the ranks in a similar fashion to Thomas G. Moses at Sosman & Landis. Both Moses and Volland eventually took over the running of each firm. Toomey was a close friend of Thomas G. Moses of Sosman & Landis. Prior to the death of Toomey in 1922, the two studios shared both projects and artists over the years. So, when Paton begins working for Noxon & Toomey in 1891, it is under the leadership of senior partner Noxon. Toomey was the junior partner who frequently traveled for the firm, hence why he attended the 1891 opening of the Kearney opera house with Paton. Noxon & Toomey become Toomey & Volland after Noxon’s passing in 1898, but it takes a few years. At this point, Toomey becomes the senior partner, and Volland is the junior partner. The dynamic of the studio shifts. After Toomey’s passing, Toomey & Volland is immediately renamed Volland Scenic Studio.
The studio’s namesake, Hugo R. Volland, was born on May 6, 1866 in Großenbach, Germany. He was first listed as a St. Louis resident in 1888, living with his brother Otto Volland, and advertising as a painter. He first worked for Noxon & Toomey as a scenic artist and later secretary for the firm by 1892. By 1901 be was listed as vice-president of Toomey & Volland, with Paton stepping in as Secretary for the firm.
In regard to scenic projects that occurred during Paton’s time at both Noxon & Toomey and Toomey & Volland, it greatly varied as in many studios at the time. However, Toomey was best known for his electrical floats, and excelled in this line for over 25 years, placing his studio staff at the forefront of many projects. Paton likely gained much of his electrical knowledge from Toomey in the 1890-1891. This was immediately before he partnered with Keller on the Panorama of Light project in 1892.
In 1902, Paton briefly works with Sosman & Landis on a project in Bowling Green, Ohio. Although the newspaper misprints the initials of his first name, this is the same guy. On August 6, 1902, “The Daily Sentinel-Tribune” of Bowling Green, Ohio, reported, “F. A. Paton, representing the Sosman & Landis company, scenic artists of Chicago, was here yesterday making arrangements for the scene and curtain painting for the new Chidester theatre. The work will be handsome and attractive when done.” (page 5). The venue opened Dec. 19, 1902.
In 1904, Paton again relocates his home and business, heading west with many other scenic artists who recognize the untapped potential of the West Coast. In addition to an abundance of work, California’s temperate climate was ideal. Many Chicago scenic artists moved to the west coast, after apprenticing in Chicago. On Nov. 27, 1904, Paton sells his Tuxedo Park home at a loss, receiving $100 less than he originally paid for it (St. Louis Globe-Democrat, page 32). He journeys we where he purchases several properties from the Jacob Heyman Co. in San Francisco (San Francisco Chronicle and San Francisco Examiner real estate transactions, July 1905). He also buys property in Los Angeles from H. W. Wilson (Los Angeles Herald, 4 Nov. 1905, page 7).
Paton is listed in both the 1905 San Francisco Directory and the 1906 Fresno Directory, working as a scenic artist and living at 609 Jones. Other scenic artists listed in these two directories included:
Barr, A. L., 426 Eddy
Bell, George R., 660 Castro
Brooks, Joseph M., 361 Geary
Cutler, Frank E., 522 Van Ness Av.
Duran, Edward C., 8 Gough
Dye, Clarkson, 1418 California
Englander, Edward, 536 O’Farrell
Engwer, Charles F. 1117a Filbert
Fest, Oscar L., 1616 Turk
Grabach, Charles, 631 O’Farrell
Porter, W. T., 507 Mason
Rose, Charles F., 1117 Filbert
Sheppard, Arthur F., 676 Hayes
Williams, Edward S. 1281 O’Farrell
By 1910, Paton was listed in the San Diego Directory as a scenic artist at the Garrick Theatre, 1614 Front Street. The Federal Census confirmed Patron’s employment as a scenic artist, working on his “Own Account.” At the time, Paton was living as a boarder at 1614 Front in San Diego. He was boarding with a 40-yrs.-old widow, Maude M. Kelly, and her two teenage sons, John R. Kelly (son, 18), and James H. Kelly (son, 16). The census report listed Paton’s date of immigration as 1890, and that he was a naturalized citizen.
During the fall of 1910, Paton sold his Los Angeles property at the northwest corner of W 10th and Fedora Street. In the real estate transaction listing, he again listed his business residence as the Garrick Theatre in San Diego. Between 1911 and 1912, Paton also sold several of his San Francisco properties. This was likely to finance a new business venture with stage carpenter Thomas B. Wylie. The two established Paton & Wylie scenic studio in 1911. The 1911 San Diego Directory listed that the Paton & Wylie (AM Paton and TB Wylie) was located at 203 5th. In 1912, Wylie was listed as the stage carpenter for the Isis Theatre in San Diego, living at 1329 8th.
This partnership did not last for long. In 1912 Paton was listed solely as a scenic artist at the San Diego’s Savoy Theatre, living at 1431 First. He continued to reside at the same addressfor the next few years. By 1913, Paton partnered with fellow scenic artist, Frederick Rickeman (1874-1951) to form Paton & Rickeman. At the time, Rickeman was living in the Point Loma neighborhood of San Diego. In 1914, Paton & Rickeman, listing their studio as the Empress Theatre. Rickeman was listed in the 1915 San Diego Directory as living at 715 10th. By 1916, Paton & Rickeman listed Spreckels Theatre as their new business address. Interestingly, Spreckels Theatre was constructed in 1912 to commemorate the opening of the Panama Canal.
Rickeman was the son of German immigrants who had moved to California by 1911. Born in Phillipsburg, New Jersey on July 29, 1874, Rickeman worked as a scenic artist all over the country before heading west. His US Passport applications from 1890 and 1900 describe him as 5’-8” tall, with blond hair, blue eyes, Roman nose, round chin, oval face, fair complexion, and a moustache. A trip to France in 1903 resulted in marriage to his first wife Gabrielle. The two returned to the United States were Rickeman worked in New York as a decorator by 1905. In 1918, Rickeman married in second wife, Eva Minosa Forneri (b. 1890 in Minneapolis, Minnesota). The Rickeman’s celebrated the birth of two sons, David E. (b.1919, Indiana) and Donald J. (b. 1929, San Diego). After ending his partnership with Paton, Rickeman moved to LA where he continued to work as a scenic artist. At the time of his passing in 1951, Rickeman’s obituary identified him as a “film studio scenic artist.”
Paton remained in San Diego for the remainder of his life, continuing to work as a scenic artist on various projects. Unfortunately, Paton’s projects seem to dwindle in the post WWI years. The last mention of his work that I have located to date is from 1924; this is just one year before his passing. On Feb, 22, 1924, the “Weekly Times-Advocate” announced that Paton was one of two scenic artists working on the Escondido Fruit exhibit for San Diego County at the National Orange Show in San Bernardino, California. The article reported, “A. M. Paton and E. E. Knight, San Diego artists, were put in charge of the construction, and the exhibit was built there and taken in sections to San Bernardino, where the finishing touches were applied by Mr. McLean, Mr. Knight, and M. E. Salsberry, horticultural inspector at Escondido, who had charge of the mechanical end. C. E. Bell, assistant manager of the San Diego-California club, is now at the orange show, distributing San Diego literature and ‘selling’ the city and county to interested inquirers” (page 2).
Paton died the following spring on April 28, 1925. I have yet to locate any obituary or gravestone.
To be continued…
I have forwarded this email from you to the library at Berwick on Tweed.
They might like to keep it in their local history files.
Thank you, Juliet!