Month: August 2024

Copyright © 2024 by Wendy Waszut-Barrett

“Mr. W. Hann” was credited with the painting of stock scenery for the Adelina Patti Theatre at Craig Y Nos Castle, Wales, in 1891. This was Walter Hann, a well-known, well-respected, and extremely talented artist, having worked in the scene painting trade for thirty-five years.

It was a familiar name to me; one that I have repeatedly encountered over the years, yet a career that I not really tracked down. Hann was an incredibly prolific artist, widely credited with many productions in both London and New York. Hann Some are listed in Robin Thurlow Lacy’s A Biographical Dictionary of Scenographers and Bobbi Owens’ The Broadway Design Roster. He is one of those 19^th-century scenic artists who should have a database dedicated to his productions;  there are just SO many. 

Amazingly, an article about Walter Hann was published in Friends of West Norwood Cemetery  in Sept 1998. It even included a portrait of Hann; one that I have yet to locate online.

Walter Hann was born on Jan. 11, 1838, in London. The youngest child of Robert Hann (1782-1874) and Mary Ann Carey (b. 1795). Walter was one of many children fathered by Robert Hann, with some historians suggesting as many as nineteen. This gets a little confusing as Robert Hann was married twice, and both his wives were named Mary:  Mary Hillier (m. in Sparkford, Somerset, England from 1802-1812) and Mary Carey (m. at St. Martin in the Fields, Westminster, London, from 1818-1874). Incidentally, I tracked down only one child from his first marriage to Mary Hillier – Robert Hann, born in 1808.

By the time Walter was born, his parents (Robert Hann and Mary Ann Carey) had been wed for over twenty years, and there were at least two more born after him.

Here are the children from Robert Hann’s second marriage:

Jane (b. 1819-?), Richard (1821-22), William (1822-23), Ann (b. 1824-25), Louisa (1825-26), Eliza (b. 1827-28), William Henry (b. 1827-28), Henry (b. 1831-1920), William (1832-1920), Caroline (1834-1917), Ellen (1835-?), Walter (1838-1922), Emily (b. 1841-?), Robert Jr. (1847-?), In looking at the birth and death dates, the first child to not die withing the first year of life was Henry in 1831; I cannot imagine this type of consistent loss from 1819 to 1831.

Walter’s father was consistently employed as a baker throughout his life.

Hann is part of a scenic art legacy. He was apprenticed to William John Callcott (1823-1900) at the Surrey Theatre in 1853. 1851 Census listed William J. Callcott as an “artist in oil and water colour,” living with his much younger brother Albert Callcott, who also worked as scenic artist at the Surrey Theatre. The two continued to live (and work) together for the next decade, even after William married Elizabeth Irons in 1855.

Hann picked a truly good apprentice, as Callcott’s work continued to be heralded, even after his passing in 1900. Examples of Calcott’s work were still included in the 1905 exhibition at Grafton Galleries in 1905, organized by the newly-formed Scenic Artists’ Association. On April 13, 1905, The Times reported, “The Scenic Artists’ Association, which was founded last year, is holding at the Grafton Galleries a week’s exhibition of drawings, paintings, models of scenes and other things, most of them the work of the members, some of them sent by members and friends. Scattered among the works of the living artists – for no one who has visited the exhibition will hesitate to grant the living exhibitor’s right to the term – are a few well-known old masters, examples of David Cox, Sam Bough, the Leitches, Nasmyth, Clarkston Stanfield, and W. J. Callcott…”

Calcott was not only well-known for his scenic art, but also easel art; his large-scale marine scenes were especially popular.  

Over the years, Hann also studied with William Roxby Beverly, Charles Marshall, and John Coleman. In turn, Hann’s own assistants included Joseph Harker, Bruce Smith (noted as his only apprentice), and his own son Ernest Hann (1879-1966). Ernest would follow in his father’s footsteps and continuously work as a scenic artist throughout the duration of his career.

This scenic art lineage, identifies Walter Hann as a key link in the development of English scenic art. He is especially significant when examining the throughline from one generation of English artists to the next.  Skills he learned at the paint benches of Callcott, Beverly, Marshall and Coleman were passed along to Harker, Smith, and his own son Ernest Hann. From there, you can continue to trace the scenic art legacy in theatre at home and abroad.

Scenic art remnants of Hann’s contribution to the Adelina Patti Theatre in 1891 are of both historical and cultural importance. Furthermore, the Victoria & Albert Museum holds dozens of Hann designs, dating from 1868-1904. Here is an example of Hann’s design work in the V&A Museum digital database:

Here is the link for the 1885 design for Junius:https://collections.vam.ac.uk/item/O695380/print-hann\

Hann’s career follows a series of twists and turns that links him to dozens of theaters throughout the UK. By 1856, Hann was engaged at Her Majesty’s Royal Italian Opera, and then the Adelphi Theatre in Sheffield. It was at the Adelphi that Hann was credited with the design and painting for Ambition in 1857. By now, Hann’s career was beginning to take shape.

The 1861 Census listed 23-yrs.-old Hann working as a scenic artist and living with his parents. The Hann household at that time included Robert Hann (79, retired baker), Mary A. Hann (65), Caroline Hann (27), Walter (23, scenic artist) and two boarders.

At the age of 25 yrs. old, Walter Hann married his first wife, Harriet Frances Dawes, The couple was wed on 9 March 1863 at St. Mary’s Lambeth, Surrey, England. That same year, Hann began painting with F. Lloyds at the St. James Theatre.

From 1865-1868 Hann worked at the Princess’s Theatre. This was at the same time, his family began to rapidly expand, celebrating the birth of their first three children: Harriet (b. 1864, St. Pancras) Walter Jr. (b. 1867, St. Pancras), Arthur (b. 1868).

Hann was making a name for himself, securing business form repeat customers. In 1868 and 1870, Hann delivered two act drops to the old Lyceum Theatre, painting at the venue throughout the early 1870s. From 1871-1874, Hann’s work was featured at the Princess Theatre (Manchester), The Prince of Wales Theatre (Birmingham), the Court Theatre, and Covent Garden.

By 1874, the Hann family lived at 51, Arthur Rd. Brixton. It was at this time that Hann’s professional and personal life began to thrive. Walter and Harriet Hann celebrated the birth of two more children in the 1870s: Constance (b. 1876, B. Brixton) and Ernest (b. 1879). He continued to work at the Lyceum, as well as Her Majesty’s in London.

As his family continued to expand, Hann also began painting scenery for William S. Gilbert’s plays. His contributions are detailed in Backdrop to a Legend: The Scenic Design of the D’Oyly Carte Opera Company (Raymond Walker and David Skelly, 2018. By the end of the 1870s, Hann was also working for Henry Irving on his productions at the Lyceum Theatre. Hann was painting alongside Hawes Craven, T.W. Hall, J.S. Hall, and W. Cuthbert.

The increased demand for Hann’s scenic art, prompted him to move his family from Brixton to Lambeth. The 1881 Census listed the Hann family’s address as 24 Guildford Rd, Lambeth, London. The household now included Walter (43), Harriet (41), Harriet (19), Walter Jr. (14), Arthur (12), Constance (4), Ernest (2) and a servant. During thr early 1880s, Hann began to paint on several productions for Wilson Barrett, including Romeo and Juliet (1881, Court Theatre) and Hamlet (1884, Princess’s Theatre).

Here is the link for the 1884 design for Hamlet: https://collections.vam.ac.uk/item/O695386/theatre-design-hann/

In 1880 Hann established his own studio on Murphy Street where he would enjoy great success painting for well-known theatrical personalities that included Wilson Barrett, Henry Irving, Dion Boucicault, Herbert Beerbohm Tree, Bancroft, H. A. Jones, and many others. Hann was entering the peak of his career by the late 1880s. It is in the midst of success, that tragedy often strikes. In 1887, his wife passed away, followed by his son Arthur the next year.

In 1890, Hann was primarily painting on productions for John Lancaster at the Shaftesbury Theatre and Wilson Barrett at the New Olympic Theatre. The year that Hann painted scenery for Adelina Patti, he was doing extremely well, with his name constantly making news. It is not surprising that Patti hired him to paint stock scenery for her theatre.  

In 1891, Hann frequently made news, credited with an abundance of scenery. That year, he was associated with the following Shaftesbury Theatre productions: The Middleman  (painted with J. A. O’Rorke), Handfast  (painted with Mr. H. Potts), and Judah. Hann’s work for Wilson Barrett at the Olympis Theatre included Ben-My-Chree and The Acrobat (painted with Stafford Hall). Hann also worked with T. F. Dunn and Joseph Harker on scenery for The Idler, performed at Theatre Royal, Newcastle-Upon-Tyne that September, The following month, Hann was credited with scenery for The Crusader, Henry Arthur Jones’ new play of Modern London Life.

The year after Hann delivered Adelina Patti’s stock scenery he married. On July 6, 1892, Emily “Totty” Mary Matthews (1857-1944) became his wife.  The two celebrated the birth of only one child, in 1896 – Maurice Hann.  

In addition to his scenic art, Hann’s easel art was also well-received and quite popular He exhibited at numerous galleries throughout his career, including the Suffolk Street Gallery, Royal Hiberian Gallery, and the Royal Academy. I am going to stop here, as this gives a pretty good snapshot of why Patti selected Hann to paint her stock scenery collection. In 1891, his scenic art skill and theatrical connections were paramount.

There is a wonderful article about Hann published in The Era on May 25, 1912 (Thank you for sharing, Mike Hume!). An interview with Hann was included in a section entitled, “Scenery, Scenic Art, and Its Artists.” Here is the full transcription, with portrait of Hann:

Interview with Walter Hann.

A Londoner by birth, born as far back as 1838, son of Robert Hann. He has two daughters, three sons, and one son working with him in his business, and, generally speaking, he has been constantly at work now for 56 years. “That’s what I call a pretty long time, Mr. Hann. I suppose you have painted every subject in the world, every country in the world, and every style of architecture in the world in your vast experiences?”

Mr. Hann acknowledged that it fell to the lot of a scenic artist to be very versatile and be able to grasp any subject at a very short notice, and nothing escaped him. More so than the academician, I suggested. Mr. Hann said that he had exhibited himself in the Royal Academy some half a dozen times, and one of the pictures painted in distemper on brown paper was sold to Mr. George R. Sims, who, I believe, would not part with it, “He has asked me for a companion, but I regret to say I have neglected to do so.” Then the late Wilson Barrett was made a present of another picture, which was recorded in “The Era.” But here are a few celebrated people he has worked for: John Colman, Frederick Lloyd, George Vining, Marie Litton, Sir Henry Irving, the Bancrofts, Wilson Barrett, Hare, and Kendal, Sir George Alexander, Forbes-Robertson, Sir Herbert Beerbohm Tree, Augustin Daly, George Edwards, Frank Curzon, Charles Calvert, Dion Boucicault, Tom B. Davis, Charles Frohman, Frederick Harrison, Cyril Maude, Arthur Chudleigh, Weedon Grossmith, William Grœt, Charles Hawtey, Henry Arthur Jones, Otto Stuart, and practically every important manager in the country.

And here are a few productions that he has either done entirely or been connected with: – Royal Italian Opera, the original; “Arrah-na-Pogue,” “Streets of London,” “Dark Days,” “The Huguenots,” “Babil and Bijou”, “Rienzi,” “Romeo and Juliet,” “Still Waters Run Deep,” “Mice and Men,” “Othello,” “The Light That Failed,” “Twin Sister,” “Letty,” “Claudian,” “Junius,” “Hamlet,” “Lights of London,” “Romany Rye,” and the following now running: – “Mind the Paint Girl,” “Looking for Trouble,” “At the Barn,” and others.

He started as a scenic artist at the old Her Majesty’s Theatre, and has been scenic artist at the old Adelphi in Sheffield, St. Jame’s, Olympic, Princess’s, Court Theatre, Covent Garden, and nearly every noted theatre in London. It was at Sheffield that he was responsible for the production of “Ambition,” it being his first complete production.

“I suppose you have had a great number of apprentices in your time, Mr. Hann?”

No, I haven’t. I only had one who became a scene painter, and that was Bruce Smith, who is one of the most genial men in the profession. He was painting with me three years, and he has been doing it ever since, and I rejoice in his success.”

“Can you give me a list of some of your principal assistants, who have worked with you?”

“Well, Jos. Harker, worked with me for some time, also Tom Hall, H. P. Hall, Theodore Parry, and a whole host of assistants who have not yet come to the front, but show great promise.”

“What is your favorite amusement?”

“Painting, and if I have any spare time I seek nature.”

“Have you done any important work, Mr. Hann, beside theatrical work and pictures?”

“Yes,” he replied, “a few things, the most important being for the Brussels Exhibition in 1910. I painted some tableaux illustrating the woolen industry for the Chamber of Commerce, firstly, a series of tableaux showing the process through which the wool has to go before being ready for use. They were in the following order: The sheep grazing on the hillside, wool sorting, combing, spinning, dyeing, and weaving, with lifesized wax figures of the mill hands busy at the machines. All the machinery was correct in very detail, being painted under the supervision of two of the engineers sent specially from Bradford for the purpose, culminating a fell-sized tableaux of the interior of the lobby of the House of Commons, with twenty-five lifesized wax figures of prominent M. P.’s of the day, all their clothing being made of woolen materials from the Bradford mills. Other tableaux, showing completed materials in the form of clothing.

“Some of these tableaux were destroyed in that terrible fire at the Brussels Exhibition, so I repainted them for the exhibition at Turin the following year.”

“And what is that, Mr. Hann?” said I, pointing to a certificate hanging on the wall.

“Oh, that,” he replied, “is a gold medal diploma awarded to me for the work I was just speaking of which I did for the Brussels Exhibition.”

“That is an honour, Mr. Hann.”

“Yes, he replied, “and one I greatly appreciate; but I must own, I don’t live for the honour; I love for my work.”

“Well, I see you are busy, painting a gymnasium and a lovely woodland for the Duke of York’s, so I think I will leave you to do some more of your work of love, and get on with mine. Good wishes, good luck, and best of health ofr years to come.

T. B. S.

As with many great scenic artists, little of their scenic work remains. That is what makes the scenic remnants at the Adelina Patti theatre so remarkable. Despite changes in ownership and building renovations, they have somehow managed to survive.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

On August 7, 2024, Mike Hume and I visited the Adelina Patti Theatre in the Craig Y Nos Castle, Wales. My last post focused on this well-known soprano and the construction of her theatre. This blog is going to look at remnants of her stock scenery collection. A few borders and a garden drop are all that remain. Visitors can only catch glimpses of delicate branches and lacy foliage high above their heads. Here is a view from the fly rail of the theatre that shows some of the original painting by scenic artist Walter Hann. He will be the subject of my next post.

I am going to start with an article published in Western Mail article about the opening of Adelina Patti’s Theatre in 1891, detailing some technical aspects. The article was discovered by Mike Hume, who has included it on his page about the theatre at Historic Theatre Photography.

The inaugural address for the opening of Adelina Patti’s Theatre was published in a Western Mail article. Mr. Terriss, a last-minute replacement for Henry Irving, gave the address. Here is an excerpt:

 “Ladies and Gentlemen, – I stand here as the humble and inadequate representative of the first of living English actors. It had been the intention of Mr. Henry Irving to signalize his appreciation of Madame Adelina Patti’s transcendent talent as a singer and actress, and to mark his strong sense of the close alliance connecting the musical and dramatic arts, by speaking a few inaugural words on this occasion – one that is unique in operatic and theatrical annals alike. For we are met here to be present at an initial performance held in a theatre which, at the generous behest of the Queen of Song, has been erected and provided with every mechanical appliance perfected by modern science in the very heart of a wild Welsh valley, teeming with the beauties of Nature and remote from the busy haunts of men.”

No expense was spared in the outfitting of Patti’s Theatre. The stage, machinery and lighting were also detailed in the article:

The stage is 24 ft. deep and 40 ft. wide, with ample height to allow the whole of the scenes to be raised into the flies without rolling. Every modern appliance necessary for opera and pantomime has been provided. There are electric footlights, rows of batten lights in the wings, and ground lights with coloured lamps for giving coloured effects. The number of lights in the entire theatre is 281, and all these are under the control of the prompter by means of a handsome switchboard which has each department labelled. A cellar under stage accommodates the machinery for working the scenes and traps: whilst alongside the auditorium on the opposite side of the corridor is a large scene dock, 32 ft. long and full height, to accommodate scenes when not in use. Behind the stage are five dressing-rooms on the first and second floors, with a loft over the properties. The architects were Messrs. Bucknall and Jennings, of Swansea and London. The builder was Mr. H. Smith, of Kidderminster; the scenery was painted by Mr. W. Hann, of London; and the decorations done by Messrs. Jackson and Sons, of London. The electric lighting has been carried out by the Wenham Light Company.

The Western Mail newspaper article provided the name of the scenic artist responsible for the stock scenery collection – Mr. W. Hann [Walter Hann]. A few of his settings were described in opening night festivities. For example, in the performance of Act I from La Traviata’s (Patti played her favorite character – Violetta Valery), the article reported, “Then the curtain rose, disclosing a very tasteful drawing room set scene leading out into a conservatory.” An illustration of this scene was published in Black & White magazine on August 22, 1891.  It gives us a true sense of how the stage looked on opening night. The newspaper illustration is now in the People’s Collection of Wales.

I also want to draw your attention to proscenium drapery – and how very little of the proscenium opening is covered in this illustration.

Such is not the case with the current proscenium draperies.

The drapery, however, was mentioned in the newspaper article when Mr. Terriss completed his inaugural address: “The great actor retired behind the heavy folding curtain of electric blue plush, which almost immediately afterwards parted and disclosed the beautiful act drop with Mdme. Patti as Semiramide driving the chariot.”

Other stock scenery by Walter Hann for the Adelina Patti Theatre included a garden backdrop, cottage wing and wood wing. I believe that the garden drop is still suspended in the theatre, although greatly altered over time with overpainting. It was used for first act of Faust, also performed on opening night.  The Western Mail article reported:

“When the curtain rose on the first scene in “Faust,” great admiration was evinced. It was a delightful rustic scene, representing an enclosed garden, Margherita’s cottage on one hand, a group of trees and flowers in the center, and on the other side a rustic seat and Margherita’s spinning wheel.” The “group of trees and flowers in the center” would have been a painted flat the rose up through a cut in the stage floor.

A photograph of Walter Hann’s garden setting was included in the Adelina Patti Documentary, produced by the Bannau Brycheiniog (Brecon Beacons) National Park.

I took a screen shot while watching the documentary and enlarged the image to compare it with the current garden drop hung from the back of the stage.

Unfortunately, the lower half of the garden drop has been heavily repainted; note the extremely bright greens and blues.

I was unable to photograph the entire composition, but the detail above shows the same pathways, garden wall and steps in the photograph above. The over painting is in sharp contrast to the original branches and leaves on the woodland borders (see below).

The branches and foliage work on the borders remains in sharp contrast to the more recent additions to the garden drop (see below).

There are a few things to point out about the overpainting historic stage settings and the addition of painted elements. It is relatively easy to spot additions when simply analyzing color. The brightest greens, yellows, and blues look like they came out of a can. These colors fail to include the complimentary color, thus supporting painted illusion for the stage. This is one of the topics that I had presented on the week before when teaching the Historic Scene Painting Workshop and delivering the paper, “Scenic Art: Past and Present”, at the Tyne Opera House and Theatre (July 30-August 2, 2024).

Only the garden steps in the composition below are original, whereas many of the organic elements (crude floral and foliage arrangements) have been heavily over painted. Specifically, the blue foxglove in the foreground, the shrubbery and vines against the garden wall, the pink flowers, and bright green grass do not contribute to the scenic illusion. They read as “flat” and without definition or dimension.

The overpainting primarily occurred in areas that were easy to reach from the stage floor. That is likely why the corresponding woodland borders remain untouched.

Here are a few more photographs of the garden backdrop, detailing the addition of foliage and flowers.

The repainting of an original scene is not uncommon. When a drop, wing, or other piece of scenery began to show wear, there were frequent attempts to “brighten up” a composition. When Walter Hann’s garden scene was “touched up”, additional elements were added throughout the composition, such as the pink flowers on top of the original spheres transforming each in to a floral vase (see image above). This same color was also added to bushes against the garden wall.

Photographs and illustrations of the Adelina Patty Theatre are extremely rare. Amazingly, I tracked one down from 1893 that depicted a cityscape, cottage wings, and foliage. The bush in the center would have emerged through the cut, attached to a sloat.

Here is the entire page published in L’illustrazione Italiana. I was astounded to discover that all of the issues have been digitized and area available though Internet Archive. Here is the January 15 issue (anno XX. No. 3)

This setting, and almost all of the other stock scenery once used for productions at the Adelina Patty theatre are missing.

The Theatre Trust includes a page on the Adelina Patti Theatre that shows an image of wood wings (see image below).

It is possible that they are in another area of the building, or I missed them, or they are the current wings (now painted black) on stage.

I would love to see the rest of the Theatre Trust images. They would help identify the rest of the stock scenery.

Here is one more that I found online (c. 2010) looks like there were flats on stage.

The photograph above was used in a BBC Wales Arts article: Five Welsh Theatres placed on at-risk register.

Only tattered remnants survive, but that does not diminish the significance of the stage nor the remaining artifacts.

My next post will examine the life and career of Walter Hann, scenic artist who painted the stock scenery for Adelina Patti’s Theatre.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Mike Hume and I drove to Craig Y Nos Castle on the morning of August 7, 2024. We had scheduled an appointment to visit the Adelina Patti Theatre.

Fortunately, there was enough time that morning to explore the small town of Brecon. Despite cloudy skies and damp streets, everything was verdant green from a recent rain storm.

Blue skies began to appear on our drive to Craig Y Nos Castle, playing a game of peek-a-boo with the clouds. This made the sections of the landscape sparkle as rays of sunshine chased across the hills. I now have ample source material for my painting projects this winter!

We soon arrived at our destination – Craig Y Nos Castle, now home to both weddings and ghost tours. Located near Glyntawe in Powys, Wales, the estate is nestled in the scenic Brecon Beacons.

It is very easy to see and feel what draws people to this place. The countryside is picturesque and the old building rife with history. Adelina Patti’s Castle and Theatre should be on the bucket list of every opera-enthusiast and theatre historian.

I am going to start with a little history about the castle before shifting to Adelina Patti and her theatre. This will be the first of at least three blog posts.

Captain Rice Davies Powell built a country house of limestone in 1840. Reminiscent of Gothic Castles and Baronial Halls, the building complex was situated on a terraced site above the River Tawe in the upper Swansea Valley. As in many grand construction projects, however, costs eventually exceeded available funds, leaving the north wing unfinished.

In 1878 Adelina Patti purchased the limestone mansion and immediately began an extensive renovation, both expanding the building and developing the grounds. She was at the height of her career as a Bel Canto Soprano, performing all over the world. Her new estate was not only an oasis between operatic tours, but also a testament to her talent and success. 

In 1891, Patti added a private theatre, complete with stage machinery and stock scenery. It is estimated that the hall could accommodate between 180-200 people.

The inaugural program lists Patti performing in scenes from La Traviata, Faust, Martha, and Romeo & Giulietta. Here is an illustration from opening night.

Few photographs of the theatre survive, making it difficult to identify specific scenes delivered to the stage. Here is the only one I have found to date that depicts a landscape drop, woodland board, and two wood wings.

On July 27, 1891, an article in Western Mail described: “The most unique thing about the establishment is the floor of the auditorium, which can be raised from a slant of one inch in twenty to an exact level with the floor. Madame Patti has in this way managed to combine in one building a perfect theatre and ball-room.”

This aspect was again described in another article, published in Western Mail on August 22, 1891. It reported, “The floor has been arranged with a view to utilizing the theatre as a ball-room when desirable. For this purpose the floor, which slants away towards the stage end, for the purpose of giving a good view, can be raised without any difficulty to a perfect level with he stage. A ballroom 62 ft. long can thus be provided at any moment, and the fact of cosy drawing room effects being obtainable at the stage end certainly does not diminish the pleasures of the ballroom.“

To many, the private theatre may appear to be a self-aggrandizing endeavor for an aging opera star; nothing more than a diva’s playhouse. Even newspapers at the time described Adelina’s excitement for the opening of the venue as a child with a new toy.

However, this perception minimizes both Patti’s accomplishments and the space. When reflecting on her life and career, I see a very smart and successful individual; one with the financial freedom to built a theatre and practice her art.

Her financial success was remembered upon her passing. On Monday, September 29, 1919, The Daily Telegraph reported, “Adelina Patti was certainly the only woman of her own or any other epoch which had earned three-quarters of a million sterling by singing and acting, in the course of three decades and a half. It was only, however, after her separation from the Marquis de Caux that she was able to mass considerable wealth, Probably her largest earnings were acquired during her American tours executed under the respective managements of Colonel James Mapleson and Henry Abbey. For many years before her definitive retirement into her private life her Albert Hall concerts and British provincial engagements were arranged by Mr. Percy Harrison, of Birmingham, her rates of remuneration being fixed at £800 for every London performance, and £500 per concert in the provinces.”

Patti’s purchase, renovation, and expansion of Craig Y Nos Castle is her lasting legacy. Craig Y Nos Castle and the Adelina Patti Theatre are something that has far outlasted her life and career.

There is another aspect of Patti’s tale that may resonate with women today. Older women are often set aside; life-long contributions minimized. In the end, their names are either forgotten or ignored. Such is the case of Adelina Patti. Before this trip, I had no idea who she was, what she accomplished, or anything about her theatrical legacy. Her tale has been left out of so many history books.

I am going to start with an 1895 article published in the Westminster Budget entitled, “Patti at Craig Y Nos: The Queen of Song at the Opera Once Again” (pages 13-14). It really speaks to her character, kindness, generosity, and success.

Here it Patti’s portrait that graced the cover of the publication.

“On Tuesday night Patti appeared in “Traviata” at the Italian Opera, and was of course enthusiastically welcomed by a great audience. Only for a short season will the most famous of singers tear herself away from that most sumptuous palace of hers in Wales, to which we give some pictures here, and a few notes of a visit paid to her some time ago by one of our contributors :-

During my visit to Craig-y-Nos we usually spent our evenings in the billiard rooms. There are two at the castle, an English room and a French one. In the French room there is the great orchestrion which Madame Patti had built in Geneva at a cost of £5,000. It is operated by electricity, and is said to be the finest instrument of the kind in the world. M. Nicolini would start it of an evening, and the wonderful contrivance would “discourse most eloquent music” from a repertoire of 116 pieces, including arias from grand operas, military marches, and simple ballads. Music is the one charm that Madame Patti cannot resist. The simplest melody stirs her to song. In the far corner from the orchestra she will sit, in an enticing easy-chair, and hum the air that is rolling from the organ-pipes, keeping time with her dainty feet, or moving her head as the air grows livelier. Now and again she sends forth some lark-like troll, and then she will urge the young people to a dance or a chorus, and when everyone is tuned to the full pitch of melody and merriment she will join in the fun as heartily as the rest. I used to sit and watch her play the castanets or hear her snatch an air or two from ” Martha,” “Lucia,” or “Traviata.” One night the younger fry of us were chanting negro melodies, and Patti came into the room, warbling as if possessed by an ecstasy. “I love those darky songs” said she, and straightway she sang to us, with that inimitable purity and tenderness which are hers alone; “Way Down upon the Swanee River,” and “Massa’s in the Cold, Cold Ground,” and after that “Home, Sweet Home,” while all of us listeners felt the tears rising, or the lumps swelling in our throats.

Guests at Craig-y-Nos are the most fortunate of mortals. If the guest be a gentleman, a valet is told off to attend upon him; if the guest be a lady, a handmaid is placed at her service. Breakfast is served in one’s room at any hour one may choose. Patti never comes down before high noon. She rises at half-past eight, but remains until twelve in her apartments, going through her correspondence with her secretary, and practicing a little music. At half-past twelve an elaborate déjeuner is served in the glass pavilion. Until that hour, a guest is free to follow his own devices. He may go shooting, fishing, riding, walking, or he may stroll about the lovely demesne, and see what manner of heavenly nook nature and Patti have made for themselves among the hills of Wales. Patti’s castle is in every sense a palatial dwelling. She saw it fifteen years ago, fell in love with it, purchased it, and has subsequently expended at least £100,000 in enlarging and equipping it. The castellated mansion, with the theatre at one end, and the pavilion and winter garden at the other, shows a frontage of fully 1,000ft, along the terraced banks of the Tawe. But the place has been so often described that it is unnecessary for me to repeat the oft-told story, or to give details of the gasworks, the electric-lighting station, the ice-plant and cold-storage rooms, the steam-laundry, the French and English kitchens, the stables, the carriage-houses, the fifty servants, the watchfulness of Caroline Baumeister, the superintending zeal of William Heck.

Every afternoon about three o’clock Patti and her guests go for a drive, a small procession of landaus and brakes rattling along the smooth country roads. You can see at once that this is Patti land. The cottagers come to their doors and salute her Melodious Majesty, and all the children of the countryside run out and throw kisses. “Oh! the dears,” exclaimed the kind-hearted cantatrice as we were driving towards the village of Ystradgynlais (they call it “Ist-rag-dun-las”) one afternoon, “I should like to build another castle and put all those mites into it, and let them live there amid music and flowers!” And I believe that she would have given orders for such a castle straightway had there been a builder within sight.

On the way home Patti promised me “a surprise for the evening.” She appeared later on covered with jewels, and when the non-appearance of the ladies kept the gentlemen waiting in the drawing-room at dinner-time I was the more puzzled. Nicolini, to pass the time, showed us some of Madame’s trophies. It would be impossible to enumerate them, because Craig-y-Nos Castle is like another South Kensington Museum in the treasures it holds. Every shelf, table, and cabinet is packed with gifts which Madame Patti has received from all parts of the earth, from monarchs and millionaires, princes and peasants, old friends and strangers. There is Marie Antoinette’s watch to begin with, and there are the portraits of the Prince and Princess of Wales to end with. There is a remarkable collection of portraits of Royal personages, presented to Madame Patti by the distinguished originals on the occasion of her marriage to M. Nicolini. Photographs of the Grand Old Man of Politics and the Grand Old Man of Music rest side by side, on a little table presented by some potentate. Gladstone’s likeness bears his autograph, and the inscription: “Con tanti e tanti complimenti”; Verdi’s, his autograph, and a fervid tribute written in Milan a year ago. There are crowns and wreaths and rare China, there are paintings and I know not what, wherever one looks. If one were to make Patti a gift, and he had a king’s ransom to purchase it withal, he would find it difficult to give her anything that would be a novelty, or that would be unique in her eyes. She has everything now. For my part, I would pluck a rose from her garden, or gather a nosegay from a hedgerow, and it would please her as truly as if it were a priceless diadem. She values the thought that prompts the giving rather than the gift itself. She never forgets even the smallest act of kindness that is done for her sake. And she is always doing kindnesses for others. I have heard from the Welsh folk many tales of her generous charities. And to her friends she is the most open-handed of women. There was one dank, drizzly day while I was at Craig-y-Nos. To the men this did not matter. The wet did not interfere with their projected amusements. But every lady wore some precious jewel which Patti had given her that morning – a ring, a brooch, a bracelet, as the case might be. For the generous creature thought her fair friends would be disappointed because they could not get out of doors that day. How could she know that everyone in the castle welcomed the rain because it meant a few hours more with Patti?

Another article published in Western Mail on June 27, 1891, stated, “Here all are welcome. It is a fortress of hospitality. No visitor ever waits at the door. Madame Patti is particularly kind to literary men and journalists. She is never too busy to see them and show them what the hospitality of a Welsh castle is. Suspicion is banished from this enchanted spot, and no visitor is every plied with questions. That is left to vulgar city dwellers. The only title you need to a warm reception at Craig-y-Nos is that you have thought enough of Madame Patti to make the long and fatiguing journey.”

Much has been written about Patti, over the past 150 years. There is a wonderful Adelina Patti Documentary, produced by the Bannau Brycheiniog (Brecon Beacons) National Park, with Welsh translation too! However, I want to provide just a little context for the purposes of this blog. Here is a very brief summary of of this remarkable woman before I share some photographs of her theatre.

Adela Juana Maria Patti was born in Madrid Spain on Feb. 19, 1843. She was the daughter of Italian tenor Salvatore Patti and soprano Caterina Barilli. The Patti family moved to New York City when Adelina was still an infant. She grew up in Bronx neighborhood, one of many skilled musicians!

In 1877 Adelina reminisced about her early childhood:

A musical ear, as well as an aptitude for and great love of singing, was in developed in me at an extremely early age. Even as a little child, I was madly fond of music and the stage. I went to the opera every evening my mother appeared, every melody, every action, was impressed indelibly on my mind.”

It should be no surprise that her first public performance was by the age of 7 yrs. old. Before she turned 16, Patti played the title role of Lucia di Lammermoor at New York’s Academy of Music. Audiences were captivated by her voice; described as pure and bird-like, with an astounding flexibility. At 18 yrs old, she performed the role of Amina in La sonnambula at Covent Garden in London. Her immediate success in London quickly fueled an international career, resulting in tours throughout Europe, Russia and North America.  

Over the course of her life, Patti married three times: Henri de Roger de Cahusac (1868-1885), Ernesto Nicolini (1886-1898) and Rolf Cederström (1899-1919). Adelina Patti built her theatre in Wales while married to French tenor Nicolini (1834-1898). When Nicolini passed away in 1898, Patti was 56 yrs. old and heartbroken. Her final marriage was to Baron Cederström (http://history.powys.org.uk/history/ystrad/craig7.html , a Swedish nobleman 26 years her junior. Records suggest that her life dramatically changed at this time, with her third husband becoming restricting both personal, professional, and financial endeavors.

Understandably, Patti wanted to continue being seen, heard, and respected. Just five years before her passing, Patti planted an oak tree on her estate in 1914. It commemorated her last performance at Royal Albert Hall to aid victims of World War I. Unlike a statue, the tree was a tangible representation of this event; one that would continue to positively impact the earth after her passing.

In my opinion, the Adelina Patti theatre is the epitome of what women can accomplish when they are free from societal and financial binds.  The space is inspirational, especially when considering it was built by a woman during an era when the majority of them had little control over their finances, let alone their bodies or future.

Here are some photographs from our visit to Adelina Patti Theatre at Craig Y Nos Castle.

For more detailed information about the history of Patti and her castle visit the Powys Digital History Project.

Adelina Patti passed away on September 27, 1919. Newspapers around the world mourned the loss, with many again sharing the story of this remarkable woman.

Tomorrow I will explore the lives of scenic artists credited with Adelina Patti Theatre scenery and stage machinery. For more photos and information about our visit to the theatre, visit Mike Hume’s Historic Theatre Photography.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

I am going to cover a lot of ground in this post. From the morning of August 5 to the evening of 6, 2024, we ran on a tight schedule as we traveled from Buxton, England, to Brecon, Wales. In the end we visited seven theaters in two days: Buxton Opera House, Chatsworth House Theatre, Sheffield’s Lyceum Theatre, Nottingham’s Theatre Royal & Royal Concert Hall, Nottingham Playhouse, and Cheltenham’s Everyman Theatre.

On our way from Skipton to Nottingham, we opted to take a chance at the Lyceum Theatre in Sheffield, without an invitation.  There are no other words for our impromptu visit to the Lyceum other than “lucky.”

Fortunately, Mike had already photographed the Lyceum, so this was our foot in the door. With the promise of “no photography” (due to a major touring production) we were soon ushered into the space for an amazing tour. Here are Mike Hume’s page on Sheffield’s Lyceum Theatre: https://www.historictheatrephotos.com/Theatre/Lyceum-Sheffield.aspx

On the morning of August 6, we headed into Nottingham for our first stop at the Theatre Royal. Our appointment was scheduled an hour before the crew was called, so we could see the safety curtain. Here are a few pictures of the space:

An unexpected bonus was heading next door to see the Royal Concert Hall. Amazingly, this was the one time of the year that they perform maintenance on the orchestra shell – phenomenal site!

Our next visit was to the paint shop at the Nottingham playhouse.

Clair Thompson, Emily Hackett, and Erin Heming had all attended my Distemper Painting Workshop at the Tyne Theatre & Opera House from July 30-August 1, 2024. I also want to make it clear that we had more than one invitation from both workshop participants and conference attendees; we just couldn’t fit everything into our schedule. This visit was only possible because it was only a short walk from the Theatre Royal & Royal Concert Hall.

Claire Thompson’s shop may be one of the friendliest spaces that I have entered in quite sometime.  Although, bustling with activity, there was a concerted effort to stop and welcome us with coffee/tea and biscuits (cookies). Those is charge frequently set the tone; Claire’s kindness radiates and is reflected by those around her. I will tell you one thing, if I ever move to Nottingham, I want to work with the women from this shop.

Despite our busy schedule, Mike and I made time to visit two tourist attractions (my request).  The first was Robin Hood’s statue at Nottingham Castle; it was the tale of Robin Hood that peaked my mom’s interest in history, a passion that she passed down to me.

Our second quick visit was to Old Ye Olde Trip to Jerusalem 1189 AD, purportedly the oldest inn in England.

After Nottingham, Mike and I drove to Cheltenham where we had an afternoon appointment at the Everyman Theatre. This tour truly exceeded all our expectations. We were all over the building! Here are a few photos from our visit.

When Mike Hume creates pages for the abovementioned at Historic Theatre Photography, I will share the links HERE.

After Cheltenham, we we were on our way to Wales.

By early evening we were enjoying dinner at the Hotel Wellington. My next few posts will be about the Adelina Patti Theatre in Craig Y Nos, Wales.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Mike Hume and I drove to Chatsworth House on the afternoon of August 5, 2024. This was after visiting the Buxton Opera House with Diana Walkden that morning. 

The drive was wonderful, and we had just enough time to make a few brief stops. One quick stop was at the Bakewell Tart Shop. Nothing like eating your way through the UK, or the Hobbit Diet as I now call it!

Although the morning was somewhat overcast, blue skies began to appear as we neared Chatsworth House.

It was Louise Calf who assisted with the necessary introductions for our visit. We had met at the Tyne Theatre & Opera House conference last year. Calf is the theatre expert for Chatsworth House, a University of York doctoral candidate who is researching the history of the space and its scenery collection.

Calf introduced us to Fran Baker (Head of Archive and Library), who organized access for our visit on August 5. Baker and Elania Pieragostini (Senior Curator, Devonshire Collections) graciously took a substantial amount of time to show us to the theatre. They even took us up to the roof for a stunning view of the Chatsworth Estate and countryside!

Since our visit, Calf has shared an abundance of information, including William T. Hemsley invoices.

I am going to start with alterations to the hall, as it was not initially constructed as a theater. The following information is from a text panels at the entrance of the theatre:

The Theatre – Formerly Ballroom or Banqueting Room

This room was designed by Sir Jeffry Wyatville as a ballroom for the 6^th Duk of Devonshire, and completed in 1832. The ceiling is decorated with the late 17^th century painted panels by Sir James Thornhill and Louis Cheron. These were removed from the walls of the 1^st Duke’s Long Gallery and adjacent Little Dining Room when they were converted into the Library and Ante Library of the 6^th Duke. The two boxes and the gallery above, are part of the original furnishing of the room. One was used by Queen Victoria when she attended a ball here in 1843. The room was subsequently used for entertainment of various kinds. In 1896, the 8^th Duke commissioned William Hemsley, a leading London Designer and supplier of ‘theatrical scenery and appliances’, to fit the room out as a theatre. He provided a permanent stage, stage equipment, a painted proscenium and front drop curtain, and a number of sets. Most of these remain, and are extremely rare survivors of late-19^th century scenery. Between 1898 and 1907, the theatre was used so regularly during the winter visits of the Prince and Princesses of Wales (later King Edward VII and Queen Alexandra), with performance plays, dance and music to entertain the royal house party, that the press of that time dubbed it the ‘Theatre Royal’. From 1989 to 2005, the room was used for textile conservation, now moved elsewhere.

Chatsworth House records detail the fitting up of the ballroom for a theatre in 1896. Itemized invoices from the Midway Rail Company (for the carriage of goods) include lists of supplies, such as canvas frames, coil ropes, drum cable, canvas bundle, 5 packages of scenery, 200 chairs, and much more.

There is nothing quite like examining a scenic artist’s bill of sale for theatrical goods. Over the years, I have studied quite a few. It provides an amazing glimpse into material expenses, wages, and shipping logistics; a wonderful snapshot for any trade.

In Feb. 1896, a bill of sale was created at William T. Hemsley’s scenic studio for the Duke of Devonshire; itemizing the “making and painting” of both act drop and scenery collection. Stock scenery included Proscenium Drapery Wings, Profile Tormentors, Double Wings, Fireplace, Borders, Small Cloths, Mantle Piece, and Interiors (dark and light chambers).

I want to place these records within a much larger context. The contents of the Devonshire Collection Archives, held at Chatsworth, spans over 450 years. It details the lives, careers, and estate management of the Cavendish family, filling over 6,000 boxes!  This, combined with the ongoing management of other estate artifacts, such as paintings, sculptures, etc., is overwhelming. In the big picture, a painted proscenium and stock scenery collection is overshadowed by the management of everything else. It’s a really good thing that Louise Calf is their theatre specialist!

Understandably, I was unable to see the entire scenery collection and act drop; the latter being encapsulated in plastic and suspended behind the proscenium opening.

What I did focus on during our visit was the painted proscenium – the second project that Hemsley was hired to paint for Chatsworth House Theatre in 1897.

In the spring of 1897, Hemsley submitted an invoice for the painting of the proscenium and supply of canvas. The painted proscenium is absolutely stunning.

Although, it has greatly deteriorated over time (paint is dusting, fabric is torn, and cords run through holes in the fabric), it is a remarkable work of Trompe l’œil for the stage.  From a distance it still creates an illusion of dimensionality that is very believable. Upon first glance, you have no idea that the ornamental frame is two-dimensional.

The painted proscenium is quite significant, and in some ways unparalleled. Last year when we visited the Gaiety Theatre on the Isle of Man, I was captivated by Hemsley’s scenic art and economy of brush stroke. The proscenium surround at Chatsworth House reminds me of his Act Drop for the Gaiety Theatre.

In the end, I wrote two posts about Hemsley: The Gaiety Act Drop by William T. Hemsley and W. T. Hemsley (1850-1918), Scenic Artist.

Hemsley and his studio were featured in an article for the 1899 issue of Cassell’s Magazine. Here are a few illustrations from “Scene-Painters and Their Art.”

As pictured above, scenic studios employed a variety of artisans beyond the scenic artist who founded the business. When scenery was manufactured at a large studio, it could have been the product of numerous hands. For example, George Hemsley worked for his father in the mid-1890s. Both William and George Hemsley were mentioned in the renovation of Whitable’s Assembly Rooms.

On Sept. 21, 1895, the Whitable Times reported, “The hall is being entirely repainted and decorated, but in addition to this a permanent proscenium is being constructed and will be furnished with an act drop and several scenes, painted by Mr. George Hemsley, under the direction of the well-known scenic artist, Mr. W. T. Hemsley. The platform is extended six feet and the prompt side three feet in front, so that the proscenium will be 18 feet wide, the whole forming a good workable stage. The drop scene is a very handsome and realistic representation of a view of Neapolis.”

I want to repeat one particular line from the article – “The hall is being entirely repainted and decorated, but in addition to this a permanent proscenium is being constructed and will be furnished with an act drop and several scenes.” This sounds exactly like the work Hemsley delivered to Chatsworth House in 1896 – less than six months later.

It is possible that George Hemsley, under the direction of his father, was also responsible for some of the scenery delivered to Chatsworth House Theatre.

I am really looking forward to learning more about Louise Calf’s discoveries and thoughts concerning this wonderful theatre and scenery collection.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Mike Hume and I arrived in Buxton on the evening of August 4, 2024.

On the morning of August 5, we had a little time to wander about town, taking in a few sights.

Buxton is a spa town in the east Midlands region of England, built on the River Wye. With ancient origins, Buxton became known for the healing properties of its waters. In fact, the one of the first things we did upon our arrival was to fill our water bottles at St. Ann’s Well, a shrine since medieval times.

Buxton’s website explains that St. Ann’s Well was denoted one of seven ‘Wonders of the Peak’ by Thomas Hobbes in 1678: “this cures the palsied members of the old, and cherishes the nerves grown stiff and cold”.  Warm water, from a  geothermal spring, flows at a constant 28 degrees Celsius (82.4F). High in magnesium, the same spring water is bottled and sold as Buxton Water.

Mike had scheduled an appointment with Willow Hick, production coordinator at the Buxton Opera House. I am still a little amazed that anyone allowed us to visit during the International Gilbert & Sullivan Festival.

It was also a perfect opportunity to visit old friends. As Diana Walkden lived nearby, we invited her to join us on our excursion. It was a really good thing too, as her involvement with the current Matcham exhibit on display in the building likely expanded or tour options that day!

Buxton’s Opera House was designed by Frank Matcham (1854-1920). This architect has quite a following, although that wasn’t always the case. He has a really interesting past and his theatres are absolutely gorgeous. For more information about Matcham, visit the Frank Matcham Society.

Opening on June 1, 1903, the Buxton Opera House featured live performances until 1927. As was the case with many theatre at this time, silent films were introduced, thus shifting the direction of scheduled entertainments. Although live performances persisted over the years, the Buxton Opera House primarily served as a cinema, then gradually fell into a state of disrepair. Fortunately, it has returned to its former glory, reopening on July 30,1979, with a performance of Lucia di Lammermoor.

Here are some of my favorite photos from our visit:

As with all of our theatre visits this trip, Mike Hume’s Historic Theatre Photography will share more detailed information and photos for this and other venues.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

This particular post is about our journey from Settle to Buxton in England. What could have been less than a 3-hrs.-drive, took us all day long. Overall, it was quite an exciting day.

Starting with our morning visit to Victoria Hall (see yesterday’s post), we hiked to Scaleber Foss (waterfalls), explored Skipton’s Castle, enjoyed a Sunday Roast in Kelbrook (village in Lancashire), dropped Grit Eckert off at the train station in Manchester, visited The Plaza in Stockport, and snuck into Buxton’s Opera House (during intermission of HMS Pinafore). It was an absolutely amazing day and I will share some photos from each leg of our journey.

For geographical context, here is a map of our travels on August 4, 2024.

After visiting Victoria Hall that morning, we enjoyed coffee and some Victoria cake before visiting the local scenic attraction known as  Scaleber Foss. We travel a bit like Hobbits; first breakfast, second breakfast, elevenses, and so forth. It makes up for the energy spent tromping across towns and in theaters.

Also known as Scaleber Force, it is a 40-ft. high waterfall on Stockdale Beck, flowing into the River Ribble between Settle and Long Preston in the North Yorkshires. Sounds a bit like fairytale locations, right? The landscape is enchanting even on a cloudy day.

Although the water is much more forceful in spring, late summer slows the stream down to a trickle, a series of gentle cascades.  Over time, water has eroded the limestone, carving out giant steps that lead to the base of the ravine.

I was surprised to discover that some believe Scaleber Foss was inspirational to Edward Elgar; he walked the countryside with his friend Dr. Buck, of Settle.

Despite overcast skies, the serene landscape, tumbling waterfall, steep footpath, and dense foliage were magical. The water was so pleasantly cool that I couldn’t resist going barefoot in the stream. 

Our next stop was Skipton Castle, known as one of the best-preserved medieval castles in England. Atop a rocky bluff, high stone walls are quite formidable to those below.

At over 900 years old the Skipton Castle is still fully roofed and contains Lady Ann Clifford’s ancient yew tree in the Early Tudor Courtyard.

I was especially taken with the castle’s Conduit Courtyard. According to guidebooks, “It is formed by a range of domestic buildings which survive unaltered and intact from early Tudor times.” In the center, a stone bench surrounds an ancient yew tree, planted by Lady Anne Clifford in 1659.

Here are a few more photographs from our visit to Skipton Castle.

We were all able to enjoy an early dinner – Sunday roast – before heading on to Manchester where Grit grabbed a train back to London. Mike and I were now headed to out next destination – Buxton, as the next morning we were touring another Opera House.

On a whim, Mike suggested that we stop at Stockport and visit The Plaza Amazingly, he was able to get us in for a quick tour from a head usher after the show let out.

What a treat!  

Our visit took place just before the new House Tabs were installed.

Then we were off to Buxton.  Little did we know, but the town was bursting with visitors, many attending  the 30^th International Gilbert & Sullivan Festival. Had we only known, tickets would have been purchased in advance! This festival is now officially on my bucket list with Andrew and Aaron.

It was an absolutely lovely evening as we wandered around the opera house. Occasionally a few lyrics from H. M. S. Pinafore interrupted the quiet night.

After lurking about until intermission, we were able to sneak in through a side door to see what the house looked like full of people. No, we didn’t stay for the second act. It was a sold-out show.

My next post will be about the Buxton the Opera House.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Victoria Hall is listed as one of the first purpose-built music halls in the UK.  

The music hall was built by Rev. James Robinson, a local philanthropist and secretary of the Settle Choral Society. From its inception, the hall was constructed for both public instruction and entertainment.

The formal opening and dedication of the building took place on Monday. Oct. 11, 1853. Celebratory events included a performance of Haydn’s Creation, featuring vocalists and instrumentalists from choral societies in Settle and Leeds.

Over the years, Victoria Hall hosted a variety of entertainments that included caricaturists, ventriloquists, magicians, and even P. T. Barnum side-show acts. Local groups also met in the building, including the Settle Mechanics’ Institute. Mechanics’ Institutes were educational organizations formed for the betterment of society through instructing individuals in various trades and subjects.

By the 1879, Settle’s Music Hall became home to the Settle Amateur Dramatic Society. It was this group that likely fueled the demand for the 1882 Act-drop curtain, currently on display. Painted by Society member, Edmund Handby (1850-1918), a local artist and performer. Dozens of newspaper accounts recount Handby’s skill as a painter, comedian, vocalist (tenor), and instrumentalist (coronet player).

It was the discovery of Handby’s Act-Drop, combined with the revelation of the painted proscenium arch, that helped guide the most recent building renovation. The Victoria Hall backdrop received a grade II listing and is believed  to be one of only five similar surviving in England.

Covered in a layer of dust, the act-drop had been stored for decades above the rafters. Storing scenery above the stage, above an auditorium, or in the distant recesses of a theatre is not uncommon.

When painted scenes became damaged, or were deemed unnecessary, there remained individuals who understood the cultural significance of each artifact. These people, whom I consider to be the first generation of stewards, helped preserve historic stage artifacts by storing them in hard-to-reach locations. If an artifact was difficult to access, it was less likely to be thrown out on a whim.

In addition to the discovery of the Act-Drop, Victoria Hall’s painted proscenium arch was also revealed in the 1990s when a chunk of plaster fell away during the redecoration.

The painted proscenium arch is quite stunning; a glimpse into an era when decorative ornament was not always dimensional.

Side note: Although no one is currently credited with proscenium arch painting (c. 1909), it is very possible that it is from Handby’s brush. I am not convinced that someone else would have been asked to paint the arch if Handby was still painting in Settle at the time. I also look at the fringe and tassels (despite their being recently restored), and see a similarity in style – but with the experience of time.

The discovery of culturally significant artifacts can often generate community support.  In 1994, there was discussion about adequate community facilities for leisure and recreation in Settle. The choice was either to build an entirely new community center or “rehabilitate” Victoria Hall.

Settled Victoria Hall Ltd was established in 1999, and now holds a 99-year lease from Craven District Council. Despite the building’s derelict state at the time, funds were secured to renovate Victoria Hall. The restored venue reopened on March 3, 2001.

There are two lovely scrapbooks about the history of Victoria Hall; graciously shared by Finance & Marketing manager, Josie Guthrie.

It was Guthrie gave us full access to the hall on August 4. Mike Hume fully photographed the space, so more information will be published at Historic Theatre Photography. I will provide a link HERE when it is ready.

This post focuses on life and career of Edmund Handby, as well as his large-scale artwork for Settle’s Music Hall in 1882.

I will start with Handby’s act-drop. The subject is based on an 1822 artwork by George Nicholson. Here is the image included in the Victoria Hall scrapbook:

Here is a color lithograph available online at Rare Old Prints

The composition features the Settle market place in the 1820s. Elements identified in the painting are The Shambles (far left), the Old Tollhouse (pictured center and later demolished to make way for the town hall), and Castleberg Rock (although exaggerated, pictured in the distance).

There is one other thing that caught my eye beyond the composition – the fabrc. It was constructed with standard drill cloth. I have only encountered this type of fabric in stage scenery once before – at the Tabor Opera House in Leadville, Colorado. The Standard Drill cloth was manufactured by Stark Mills, Manchester, New Hampshire, USA.

Standard Drilling cloth, manufactured at cotton mills, was popular for lining used in skirts, pants, and jackets. In rural communities, it was readily accessible to use for theatrical scenery. For more information about this type of fabric, here is my post about Stark Mills standard drilling cloth.

The Victoria Hall scrapbooks have a section devoted to Edmund Handby, identifying him as an “Operatic Stalwart.” Dressed up as Stephen in Iolanthe, he certainly looks the part!

Here is a better photograph of his image in the scrapbook:

Before I get into the details of Handby’s life and career, I want to place his life within the context of a much bigger picture – that of rural scenic artists in both the United Kingdom and United States.

Handby represents the majority of scenic artists working from the early-to late-19^th-century. These small-town scenic artists poured both their time and talent into so many local and regional endeavors. They were essential members of the community, who, in most cases, were extremely active citizens. The participated in the majority of public events and entertainments. These scenic artists were integral to rural communities with entertainment halls. Local heroes one could say. Although most never received any national recognition (as they were not associated with major metropolitan venues), their contribution certainly deserves mention in history books.

Small stages across the country offered many aspiring artists an opportunity to showcase skill. Scene painting projects provided an opportunity to be heralded and respected by their community, and in some cases region.  Artists such as Handby took on a variety of projects, working as decorative artists, sign writers, carriage painters, glaziers, chemist, and plumbers. Their contributions were very, very visible to the general public. Many local artists also taught painting classes and sold their small-scale artworks at local stores and events.

Rural scenic artists often fully embraced every aspect of the production too – music, performance, and management. They contributed in so many different ways to numerous amateur groups, including dramatic societies, operatic societies, orchestras, bands, fraternities and other social organizations.

Here is Handby’s tale…

Edmund Handby was born in Bentham, Yorkshire, England, in January 1850. Some of his descendants indicate that he was nicknamed “Ted” by family and friends. Handby was the youngest of three sons, born to James Handby (1816-1874) and Ann Tomlinson (1809-1871). His older brothers were John Handby (1841-1918) and James Tomlinson Handby (1846-1897).

Their father tried his hand at a variety occupations over the years, working as a constable, quarryman, and gardener. Gardener seems to have been the one that eventually stuck. A few interactions and court cases published in local newspapers suggest that James Handby Sr. was quick to temper and little foul-mouthed. That being said, it is it hard to judge a person, or the dynamics in a small town, when so much time has passed. However, when you look at the whole of a family, you can see that something was at play. It may not have been the easiest upbringing for the Handby children. I am only going to mention his two brothers at this time.

Edmund’s oldest brother (John Handby) was apprenticed as a Plumber and Glazier by 1861, although he was still living at home with Edmund and his parents. By the way, this is the same trade listed by George Rivers Higgins in a past post (scenic artist of the woodland scene, Georgian Theatre, Richmond).

Edmund’s brother James Tomlinson Handby was out of the family home by 1861, despite his young age. He was likely placed as an apprentice at little father away. James Handby Jr. became a tailor by trade, but died relatively young. He passed away at the age of 52 yrs. in 1897. The cause of death was listed as “suicide during temporary insanity.” James Jr. shot himself.

Little is known of Edmund Handby’s formative years in Settle. The Handby family were still living in Settle. On Oct. 8,  1863, The Bradford Observer listed his father “James Handby, gardener, Settle” as contributor for a gift to the Rev. M. Wood, Second Master of Giggleswick School. The gift was a Tea and Coffee Service, Salver and Purse containing 200 guineas.

Three years later, his son made the news.The first mention of Edmund Handby has to do with a tragic railroad incident.

On August 18, 1866, The Lancaster Gazette reported, “The Windermere Excursion Train Accident – Our usually quiet little town was thrown int a state of great excitement on Wednesday when the news came that an accident had happened to the excursion train which had that morning taken a great many passengers from Settle and Windermere. Those who had friends or relatives amongst the passengers were concerned to know whether that had escaped injury, and several persons met the train at the station on its return to learn the truth. Then, and not till then, it was ascertained with certainty that no Settle persons had been seriously injured, except a young man of the name Edmund Handby who got badly hurt about the head, and was brought home by an earlier train and placed under medical care. Very many were more of less bruised, and among them were the following, who were more seriously injured than the rest, viz.: Mr. Michael Wilson, the young man Handby, a son of Mr. Greenwood, grocer, Mrs. Perfect, Miss Clayton, and Mrs. J. Brennand. All, we are glad to hear, are going on favorably.” This places the Edmund Handby and his family in Settle, between 1863 and 1866 when Edmund entered the painting trade as an apprentice.

Here are two articles that mention Handby’s social activities before he settled down in 1872. On Feb 27, 1869, The Lancaster Gazette  announced that in Settle, the Band of Hope had sponsored a Music Hall entertainment. Readings, recitations, speeches and songs were presented by various local citizens, including Handby who sang (with chorus) Eulalie.

On Dec. 10, 1870, The Lancaster Gazette listed Handby as performing a coronet Solo -Air with variations – for another Band of Hope entertainment at the Music Hall.

That is pretty much the extent of Handby’s activities published in local news prior to his marriage. When he did wed a few years later, the trade of painter was listed on his marriage certificate. In 1872, Handby also listed his residence as Huddersfield in 1872, whereas his wife was living in Settle. Huddersfield was southeast of Leeds, a significant distance from Settle, but a much larger town.

Edmund married Jane Holmes on April 23, 1872, at Ascension Church in Settle. The two remained in town where Handby continued to work as a painter and decorator.

Edmund and Jane celebrated the birth of six children: John (b. 1875), Bertram (b. 1881), Bessie (b. 1883), Edmund (b. 1887), Annie (b. 1888) and Madeline Ellen (nd).

For larger painting projects throughout the area, Handby advertised for assistants. On May 5, 1875, Handby placed a want ad in The Bradford Observer: “TO PAINTERS. – Wanted, Two or Three good HANDS. Apply to E. Handby, Settle.

He also continued to perform, joining a variety entertainments. For example, Handby performed the song “Nina” for the Settle Cricket Club entertainment at the Music Hall in 1876 (1 Jan. The Lancaster Gazette p. 3). Overall, the majority of Handby’s social activities were included in newspapers throughout the 1880s. One in particular made me chuckle; Hanbdy performed in the William Tell burlesque. The burlesque was part of the Church Institute’s annual tea party (17 Jan 1880 The Lancaster Gazette).

The year before Handby painted Victoria’s Hall act-drop, the 1881 Census listed his household as including: Edmund (31 yrs., head), Jane (35 yrs., wife), John (5 yrs, son), Edmund (2 yrs., son) and Margaret Holmes (18 yrs., niece). Margaret would never leave the Handby home, eventually becoming their maid.

In the 1881 census, Handby was listed as a decorator and photographer. As many scenic artists at the time, photography was a natural addition to the painting trade. By now, his sons  John and Edmund were 15yrs, and 12 yrs. old, respectively.

In 1881 Handby also placed an advertisement in The Daily Telegraph, inquiring: DRAPERY. – WANTED, smart YOUNG MAN, with almost three years good experience, for drapery counter, and to assist in dressing window.- Apply after six p.m. to Edmund Handby, 6, Willow-place, near Stoke Newington Station.

It does not appear that Hanby remained in the photography profession for long, soon returning to the decorative arts and performance.

Handby performed the role of “Toby Perch” in Morton’s Old Honesty. On Feb. 18, 1882 The Lancaster Gazette reported, “Mr. Handby’s comicalities both of look and gesture completely captivated his auditory, whose applause at times was nigh deafening.”

It was about this time that Handby also became quite active in the newly-formed Amateur Dramatic Society. He was credited as not only a performer, but also the group’s scenic artist (4 Dec 1880 The Lancaster Gazette p. 3).

1882 productions, with scenery painted by Handby, included Amateur Dramatic Society’s The Post Boy and My Turn Next. On Dec. 18, 1882, The Lancaster Gazette reported, “As on former occasions, the scene painting was done by Mr. E. Handby, and the stage effects by Mr. R. Grime. On this occasion their united labours had produced the most elaborate scenery which was universally admired.” Handby continued to perform with the group, and was in the production of All That Gliters is Not Gold in 1884. (19 Apr 1884 The Lancaster Gazette p. 6)

At the same time, Handby was also singing with Settle’s Choral Society. He sang as a tenor solist in Hadyn’s Creation (23 Apr 1881 The Lancaster Gazette p. 5) and in W. H Birch’s Robin Hood (6 May 1882 The Lancaster Gazette p. 8). On Dec. 23, the Weekly Examiner listed Handby singing at the first concert of the newly formed Holmfirth District Choral Society. The article reported, “Mr. Handby (of Settle), who is on a visit to this district, sang two recitatives and two airs with an excellent tenor voice.”

On March 3, 1883, The Lancaster Gazette reported that donations to the Royal Albert Asylum for Idiots and Imbecils of the Northern Counties, Lancaster, received “Settle – E. Handby, two framed pictures, per Cbr. Brown, hon. Local Secretary.” Side note: Keep this type of event in mind when you read my future blog about Normansfield Entertainment Hall. Handby continued to perform with choral groups throughout the 1880s. Here is one more example. On July 9, 1887, The Leeds Mercury reported that “Mr. Handby, of Settle” sand a solo at the annual North Craven Choir Union Festival at Gargrave.

Handby continued to work as a scenic and decorative artist, hiring help as needed for larger projects. On April 25, 1883, Handby placed an advertisement in The Leeds Mercury, looking for a “PAINTER and PAPER HANGER; steady man. Apply Edmund Handby, Duke-street, Settle.” By now, Handby was 33 yrs. old and doing quite well. His projects included room decor for many different social events that were planned throughout the season.

On Jan. 5, 1884, The Lancaster Gazette reported, “LIBERAL CLUB BALL – The annual ball in connection with the Settle Liberal Club was held at Drill Hall on Friday evening, 28^th ult. There was a large and representative assembly, by whom dancing was kept up with vigour and evident appreciation into the small hours of the following morning. The Settle quadrille band supplied the musical requirement, whilst Mr. Overing provided the refreshments, which gave great satisfaction. The room had been artistically decorated by Mr. Edmund Handby.”

Here is another example…On Jan. 3, 1885, The Lancaster Gazette described CHRISTMASTIDE’s Volunteer Ball at Drill Hall, noting, “The room had been most tastefully decorated for the occasion by Mr. Edmund Handby.”

Although it is easy to think of Handby as an amateur artist and performer, his career mirrored that of many well-known English and American scenic artists, as he also exhibited his fine art works.

On Dec. 13, 1884, The Lancaster Gazette announced:

FINE ART EXHIBITION. – Mr. Edmund Handby’s exhibition of oil-paintings, water-colour drawings, hand painted mirrors, and screens and other works of art, which was opened in the Assembly Room at the Ashfield Hotel on Tuesday the 2^nd instant and continued until Wednesday last has afforded genuine pleasure to the many visitors who have inspected the collection. The display of valuable oil-paintings and water-colour drawings comprise several; meritorious works which did infinite credit to the respective artists. The mirrors and screens exhibited deserve more that a passing notice, not only on account of their artistic merit but as being work of a native of Settle. It is to Mrs. McClelland that we owe the revival of this art, which was formerly practiced by the early Italian masters and used simply as a wall decoration. Now, however, Mrs. McClelland has applied it to a variety of objects which have taken prominent places in artistic English homes.

I would really love to see one of his paintings! Just to see how it compares with his large-scale scenic art.

There was also another aspect of Handby’s life that I stumbled across while doing research – he became a Freemason in 1885, joining Castleberg Lodge No. 2091, Settle. Handy was initiated on 25 June 1885, becoming a Master Mason when he was raised on Dec. 2, 1887. Grand Lodge records list Handby’s profession as a decorative artist. This could have cemented many future projects in the area.

By the 1890s, Handby began to look explore another aspect of the theatrical trade – theatre management. He applied for a theatrical license. The name of Settle’s Music-hall had become known as Settle’s Public Hall. It was mentioned in a local newspaper announcement in the fall of 1892. On Sept. 24, 1892, The Leeds Mercury announced: “The Public Hall at Settle. Mr. E. Handby has made an application for a license for the Public Hall (late Music-hall), Settle, but he did not appear in support of his application.” Later than month, on September 29, 1892, Handby was granted a theatrical license from the General Purposes Committee of the West Riding County Council for Victoria Hall at Settle. Notice the name change to Victoria Hall. The committee meeting was held at the Clerk of the Peace Offices, Wakefield, and published in The Leeds Mercury on Sept. 30, 1892. In the announcement, “Mr. E. Handley [sic. Handby]” was listed as the manager of the Victoria Hall, Settle (p. 3). Handby was still working as the hall’s manager, and functioning as its main contact, two years later. On March 30, 1894, The Leeds Mercury announced the renewal of Victoria Hall’s theatrical license, again E. Handby was listed as the manager.

Despite his work as a manger and performer, Handby’s primary income stemmed from the decorative arts. He continued to be listed as a painter and decorator until the 1911. The census that year listed Handby as a 61-yrs. old house painter. He was now a widower, living with his 23-yrs. old daughter Annie, and 48 yrs. old niece Margaret Holmes; Margaret was listed as his housekeeper.

Both Edmund and his brother John passed away in 1918. This was the same year that the world was plagued with a pandemic. Edmond died on Feb. 24, 1918.

It was the year after his passing that Victoria Hall became a cinema.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Mike Hume, Grit Eckert and I arrived in Settle on the evening of August 3, 2024. We had driven down from Newcastle-Upon-Tyne that day, stopping in Richmond to visit the Georgian Theatre Royal.

Our visit to Victoria Hall was scheduled for late morning on Sunday, August 4. This meant that we had ample time to explore the area. We took very little time settling into our hotel before heading out to dinner.

Settle is a market town and civil parish in North Yorkshire, England; historically in the West Riding of Yorkshire. As Settle is a very small town, we were able to cover ample ground that evening and the next morning before heading south to Buxton.

There are just a few photos that I want to share before jumping into Victoria Hall and the Act-Drop painted by Edmund Handby. By the way, the music hall very close is to the Railway Station. The line now offers scenic rides between Settle and Carlisle.

The first thing that struck me about Settle was the feeling of community. It may have been the knitted tops that decorated mailboxes or dozens of flowerpot sculptures, but there was an immediate sense of belonging.

We scoped out the location of the music hall. It was the woman who ran the cafe next to the building who would let us in the next morning. The entrance to Miss Victoria’s Refreshment Gardens is a white tent, pitched on the side of the music hall, set back from the road about thirty-five. A sandwich board on the street advertises “Amazing Community Space and Café”.

All the proceeds from Miss Victoria’s fund the theatre.  After purchasing food and drink in the tent, one has the option of entering the “Refreshment Garden.” This is a variety of seating areas in playfully decorated tents with children’s toys strewn about. What a GREAT place to visit, especially with small children. It offers an immediate sense of belonging.

Here are a few more photographs of Settle during our stay.

Here are my favorites flowerpot sculptures.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

A text panel next to the woodland scene notes that “the scenery came from the firm of George Rivers Higgins in Oxford. Higgins created stage sets to order and also kept a stock of scenery for hire.”

This basic information has been cited repeatedly, linking Higgins’ to the later form of Hinkins. Here is what was published at A History of the World :

“The Georgian Theatre (the UK’s oldest working theatre in its original form, built 1788) holds, in its display area, the oldest known theatrical scenery still in existence: the Woodland Scene. The scenery comprises 8 wooden wing flats 9ft 6ins by 3ft 6ins, 5 canvas borders and a Forest back-drop scene 13ft 1in by 10ft 2ins. All trees in the scene can be identified as specific types. On the back is painted a Blue Drawing Room, with Fire, showing a period fireplace, skirting board and panelling and a picture frame over the fireplace. The Woodland scenery was only part of a stock of 5 different scenery pieces which had been in the Hinkins family as far back as 1820. It was painted at a scene painting shop in Royston, Hertfordshire, (previously Cambridgeshire) which was set up in 1811 by a former travelling actor – George Rivers Higgins. How and why the Woodland Scene became detached from the other pieces of Hinkins scenery is not known but it was Richard Southern (a theatre architecture historian instrumental in uncovering the history of the Georgian Theatre in Richmond, North Yorks) who arranged its transfer into the care of the Theatre trustees in 1961.

While trying to track down the origin for this information, I came across the following statement in an article entitled Georgian Richmond  in the theatrecrafts.com archives (https://www.theatrecrafts.com/archive/cue/cue_14_18.pdf

The article noted:

The scenery was included in “that marvelous Hayward Gallery exhibition of 1975 from whose catalogue we glean: In 1818, George Rivers Higgins, an actor and scene painter in a travelling company of players, settled in Royston and founded a decorator’s business. He became a leading light of the local Dramatic Society and was assisted and succeeded in his business by William Hinkins who had been one of His Majesty’s Servants in Norwich. By 1866 the firm of Hinkins had a large stock of stage scenery which was hired out, the nucleus of the stock supposedly being brought to Royston by Higgins in I 818.

 An inventory of 1881 lists five drop scenes, three of which still exist. On the back of “The Woodland Scene” is painted a “Blue Drawing Room with Fire”, panelling and a picture over the fireplace. The flats exhibited were listed in the inventory as eight trees. This set has been frequently retouched in the last one hundred and fifty years and there are even signs that one width of canvas of the three-piece backcloth has been replaced above the second seam. The canvas of the flats appears to be original. Allowing for retouching this is the oldest scenery surviving in Britain.

The woodland scenery is now displayed in a room with a scaled down replica of a Georgian stage and is viewed under ambient lighting.”

The above excerpt was first published in a catalogue (The Hayward Gallery, 21 August to 12 October, 1975) entitled The Georgian Playhouse: Actors, Artists and Architecture, 1730-1830, written by Ian Mackintosh and Geoffrey Ashton. Mackintosh curated and designed the Hayward Gallery exhibition. Both he and David Wilmore worked as historic theatre consultants on the Georgian Theatre Royal restoration. 

By this point, I was fully engaged in the story, and wanting to learn more about the lives and careers of Higgins and Hawkins. Yet, there was precious little available beyond what I have cited above.

I started with a basic Google search before turning to newspaper and genealogy databases. You could have knocked me over with a feather when this popped up: “William Hinkins, aged Thirteen Years. Binds Himself Apprentice to George Rivers Higgins of Royston. Plumber, Glazier, House and Coah Painter. For Seven Years.” The contract was dated 1828.

Timing is everything, and I immediately sent an email to both the Georgian Theatre Royal and David Wilmore (who secured the document). Then, I took a screen shot of the contract and started deciphering the text. Here is my transcription:

This Indenture Winesseth That William Hinkins aged thirteen years and upwards as well of his own free will and consent as by and with the consent and approbation of his Mother Catherine Hinkins of the Parish of Bassingbourn in the County of Cambridge widow, testified by her being a party to and executing these presents –doth put himself Apprentice to George Rivers Higgins of Royston in the County of Hertford of Plumber, Glazier, Coach and House Painter, to learn his Art and with him after the Manner of an Apprentice to serve from the day of the date hereof until the full End and Term of Seven Years from thence next following to be fully complete and ended During which Term the said Apprentice his Master faithfully shall serve his secrets keep his lawful commands everywhere gladly do he shall do no damage to his said Master nor see to be done of others but to his Power shall tell or forthwith give warning to his said Master of the same he shall not waste the Goods of his said Master – nor lend them unlawfully to any he shall not commit fornication nor contract Matrimony within the said Term he shall not play at Cards or Dice Tables for any other unlawful Games whereby his said Master may have any loss with his own goods or others during the said Term with out License of his said Master he shall neither buy nor sell he shall not haunt Taverns or Play houses nor absent himself from his said Master’s service day or night unlawfully But in all things as a faithful Apprentice he shall behave himself towards his said Master and all his during the said Term. And the said George Rivers Higgins doth hereby to himself his executor and administrators Covenant and agree to and with the Catherine Hinkins her executors and administrators and also to and with the said apprentice in consideration of the sum of ten shillings of lawful money of the United Kingdom of Great Britain and Ireland to him in hand paid by the said Catherine Hinkins and of the source of the said apprentice and the Covenant herein after contained on the part of his Mother in manner following (that to say) that the said George Rivers Higgins- his said Aprentice in the Art of a Plumber Glazier Coach and House Painter which he useth by the best means that he can shall teach and Instruct or cause to be taught and instructed Finding unto the said Apprentice Sufficient Meat Drink and Wearing Apparel [Lodging and all other Necessaries was crossed out] during the said Term and the said Catherine Hinkins for her considerations aforesaid doth hereby for herself, her heirs, executors and administrators covenant and agree to and with the said George Rivers Higgins his executors administrators and assigned that shew the Lodging Medical Attendance and all other necessaries whatsoever and save himself and keep indemnified the said George Rivers Higgins his executors and administrators of and from the same And for the true performance of all and every the said Covenants and Agreements either of the said Parties bindeth himself and herself unto the other by these Presents In Witness where the Parties above named to these Indentures [the word interchangeably is crossed out] have put their Hands and Seals the thirty first day of December and in the ninth Year of the Reign of our Sovereign Lord George the Fourth by the Grave of God of the United Kingdom of Great Britain and Ireland King Defender of the Faith in the Year of our Lord One Thousand Eight Hundred and Twenty eight.

[Signed on the bottom right side]

Geo. Rivers Higgins, Caroline Hinkins, William Hinkins

[Fine print on bottom left side: NB. The Indenture Cov’Article or Contract must bear the day it is executed and what Money or other thing is given or Contracted for with the Clerk or Apprentice must be inserted in Words at Length otherwise the Indenture will be void the Master or Mistress forfeit Fifty Pounds and another Penalty & the Apprentice be disabled to follow in the Trade or be made Free]

Well, that certainly linked Higgins to Hinkins who later takes over the business. For years, I have read about art apprenticeships, but never fully considered the legalities; a contract that was negotiated and signed, as well as the similar wording for indentured servitude. We seldom stop to think about the lengthy commitment and restrictions placed on a very young person. All goes well if the “Master” is a good person. It is also easy to see how this type of agreement could become an abusive arrangement. Hawkins was very lucky when his mother apprenticed him to Higgins.

I also want to put the profession of “Plumber, Glazier and Painter” in context. The three trades were frequently combined in early-19^th-century; even appearing as a single category in business directories.

Here is George Rivers Higgins listed in Pigot’s Directory  for 1830:

Side note: I have also found the names of several women who were identified with this trade!

In regard to the 1830 Pigot’s Directory  listing, however,  George Rivers Higgins and James Hawkins were working together that year (see above image). Both were listed in the “Painters, Plumbers and Glaziers” living on High Street. Hawkins had previously worked in Gloucestershire, Wales, and was listed in the “Painters, Plumbers & Glaziers” section of the 1822 directory for that area. Hawkins was still working in Royston in 1840, when his shop burned to the ground (Cambridge Weekly News 18 July 1840 p. 4).

Like me, you may be interested in the whole plumber-aspect of Higgins’ trade. When I first saw the word plumber in the apprenticeship agreement, my interest was peaked. I thought back to the responsibilities of a nineteenth-century barber, like pulling teeth and conducting surgeries.

A plumber’s trade is described in numerous nineteenth-century manuals, all identifying the tradesmen as individuals who were responsible for the casting and working of lead.  Here is an 1806 illustration of a plumber from The Book of Trades, or Library of Useful Arts, Volume 1. This illustration and a few other interestingly tidbits can be were included in The Plumber’s Craft in Past Times

The grouping of plumber, painting and glazier now made much more sense to me, as all three fell within the realm if chemistry. Also, painters and paint manufacturers handled great quantities of lead for many projects. I have frequently come across nineteenth-century scenic artists who got their start as a chemist or druggist.

This combination of trades that overlap also speaks to a diversification of skills to maintain and adequate workload. Even now, stability of employment can be based on a diversity of skill. This was key to the successful careers of many 19th and 20th century scenic artists.

In my mind, I could easily understand why Catherine Hinkins (1786-1875) apprenticed her 13-yrs.old son William to George Rivers Higgins. For further context, in 1828 Catherine was also at a turning point, having lrecently become a widow. On Sept. 5, 1827, Joseph Hinkins (b. 1789) passed away, leaving Catherine with three children to raise (William, Elizabeth and Lydia). I found baptismal records for each, but there may have been more children.

Back to the story…at 13 yrs. old, William Hinkins was apprenticed to 38 yrs. old George Rivers Higgins.

When all was said and done, Catherine made a good choice; Higgins was beloved by the community in Royston. Here is what the Amateur Musical Society published in local newspapers when Higgins passed away in 1861:

His love of art was unbounded; his generosity was ever active; and his influence for good in the noble cause of music was exercised and felt in Royston during a period approaching half a century.

This also suggests that Higgins moved to Royston sometime after 1811, as he had not quite reached the 50 years mark as a citizen. As far as William Hinkins was concerned…

In 1835, William completed his apprenticeship, continuing to work for Higgins for at least the next eight years.  In 1843, Hinkins married  Maria Howard (1813-1888) in Royston on October 26, 1843. The couple raised at least five children between 1848 and (William Howard, Louisa L., Clara Maria, Francis Robert, and Jane A.).

William Hinkins, Sr. became “heir apparent” to Higgin’s business, with his two sons, William Howard Hinkins and Francis R. Hinkins following in his footsteps. Hinkins ran a thriving business, and by 1871 was employing fifteen men and two boys. So who was George Rivers Higgins?

Here is what I have tracked down about his life and career…

George Rivers Higgins was the son of George Higgins and Harriot Annett. His parents were married at St. James Westminster, Piccadilly, London, on April 24, 1783. On March 7, 1786, they celebrated the birth of their first child – Mary Higgins. On January 2, 1889, the celebrated the birth of Sarah D. Higgins, with George Jr. Higgins arriving on 23 May, 1790. All three baptisms were registered at St. George, Hanover Square, in London.

George Higgins, Sr., worked as a chemist (druggist) in London. This makes so much sense in terms of why George Rivers HIggins became a plumber, painter and glazier. The chemist/druggist trade that was intimately linked to paint production in the 18^th, 19^th, and even early 20^th, centuries.

Here is just one example to illustrate my point – a charming letterhead from Philadelphia, Pennsylvania, c. 1901.

Painting has always been closely connected with chemistry. Whether it was in the actual creation of a paint, or how certain colors interacted, artists must intimately understand what they are handling, or their paintings fail over time.

Chemistry meant that the paint industry often partnered with other trades, even undertaking. Here is a photograph that has always makes me chuckle – decorative painting and funeral supplies.

Both trades used many of the same chemicals.

Now, I have spent quite a bit of time going down one particular rabbit hole that concerns the life and career of George Higgins Sr. Maybe a little too much time…

I have looked as various individuals with the name, cross-checking the locations and dates. I think that his father was one of four London Correspondence Society (LCS) members charged in a plot to assassinate the King. The plan to shoot the King in the neck with a poisoned dart, thus becoming known as the Pop-Gun Plot.

George Higgins (Sr.), Paul Thomas LeMaitre, John Smith and Thomas Upton were arrested in the fall of 1794. Robert Thomas Crossfield was arrested the following summer. Although LeMaitre, Smith and Higgins spent time in Newgate prison, there was insufficient evidence to convict… and… the chief witness was dead.

George Higgins (Sr.) was acquitted in May 1796. Here is a recent article about the event published on May 11, 2024 to Past Tense: https://pasttense.co.uk/2024/05/11/today-in-london-spycops-history-1796-popgun-assassination-plot-frameup-defendants-acquitted/

The dates of the Pop-gun Plot match the George Rivers Higgins family timeline, including their move tp the country. Later in 1796, newspaper articles referred to Higgins Sr. as “George Higgins, late of London.” Now this also may have been the reason why George Higgins, Jr. consistently used his middle name, going by George Rivers Higgins and G. Rivers Higgins throughout his career.

Previous historians suggest that George Higgins Jr. joined up with a theatrical touring group, settling in Royston about 1811. The earliest mention in local newspapers that I have come across is his marriage announcement from eight years later. On Oct. 13, 1819, Higgins married Ann Smith (b. 1796). Their marriage was announced in local papers, listing the couple as “Mr. George Rivers Higgins, painter, of Royston, to Miss Smith of the same place.”

Other than directory listings and census reports, George Rivers Higgins’ name seldom made news. However, the year before he accepted William Hinkins as an apprentice, Higgins placed the following advertisement in The Cambridge and Hertford Independent Press (19 May 1827):

To Plumbers, Painters and Glaziers. Wanted, in a constant place of work, a steady Man who thoroughly understands the above three branches. Apply if by letter (post-paid) to G. R. Higgins, Royston, Herts. A Reference will be Required.

Higgins was consistently listed in Pigot’s Directory for Cambridgeshire (Royston), often one of four or more individuals listed in the “Painters, Plumbers, and Glaziers” section.

Census reports list George and Ann as a childless couple in Royston. Although they did not celebrate the birth of their own children, George Rovers Higgins was cherished by his wife’s family. Ann’s older brother, George Smith (1791-1869), even named his second son Rivers Richard Smith (b. 1841). His first son was named George Smith. The two families remained extremely close over the years, and it was Rivers R. Smith who settled Ann Higgin’s estate upon her passing. Rivers Smith followed his own father’s footsteps, working as a Wine and Seed Merchant in Royston.

George Rivers Higgins was quite active in Royston’s Mechanic’s Institute too. On Dec. 10, 1842, the Hertfordshire Mercury reported:

Royston Mechanic’s Institute – A very interesting lecture on the varieties of the human race was delivered at the British School-room, on Wednesday last by R. G. Latham, Esq., A. M., Fellow of King’s College, Cambridge, and Professor of English literature, in University College, London. After a lucid description of the physical peculiarities which distinguished the different tribes f our species from each other, as displayed in the varied conformation of the skull, the colour of the skin and eyes, the nature of the hair, &c. Mr. Latham gave an eloquent and highly interesting sketch of the origin, the geographical position, the history, the language, the intellectual progress and discoveries, the present state, and probably future political destiny of the great classes of mankind. The lecture was illustrated by a series of beautiful designs representing the most striking varieties of the form of the skull, together with characteristic portraits of individuals belonging to some of those tribes least known to the audience, as the North American Indian, the Malay, &c. These drawings were gratuitously executed expressly for the lecture by one of the members of the Royston Mechanics Institute, Mr. George Rivers Higgins, to whose talent and liberality they do equal credit.

In 1851 Census, Higgins listed that he employed two men and two boys. At the time, he was 61 yrs. old, and doing quite well; successful enough to employ two servants in his home.

In 1855, the Post Office Directory still listed him as a plumber, painter and glazier, situated in the same home/work address on High Street. He passed away six years later, just before the census was taken. The 1861 Census listed Ann Higgins living along with a cook and servant. She died three years later.

When George Rivers Higgins passed on Jan. 27, 1861, he left an estate valued under £1500. The English & Wales National Probate Calendar listed, “The will of George Rivers Higgins, later of Royston in the County of Hertford. Coach and House Painter deceased who died 27 January 1861 at Royston aforesaid was proved at the Principal Registry by the oath of Ann Higgins of Royston aforesaid Widow the relict the sole Executrix.”

Ann didn’t outlive her husband by much, passing away three years later. On Feb. 20, 1864, the Cambridge Weekly News reported, “Higgins – Feb 17, at Royston, after many years suffering, borne with exemplary patience and resignation, Ann, widow of the late George Rivers Higgins, in her 73^rd year.”

Her listing in the National Probate Calender reported:

March 10, 1864. The Will with a Codicil of Ann Higgins late of Royston in the County of Hertford. Widow deceased who died 17 February 1864 at Royston aforesaid was proved at the Principal Registry by the oaths of Rivers Richard Smith of Royston aforesaid Wine and Seed Merchant, the Nephew and Spicer Crowe of the Town and Country of Cambridge Gentleman the Executors. Effects under £800.

George Rivers Higgins’ name was mentioned again when their property sold in 1870. On Jan. 22, the Cambridge Weekly News announced:

Royston, Herts. Messrs. Nash & Son are instructed by the Proprietor to SELL BY AUCTION, on Wednesday, 26^th January, 1870, at the Bull Inn, Royston at 4 for 5 o’clock. Those very Eligible Freehold Business Premises, situate in the High-street, Royston, in which the Painter’s, Plumber’s, and Decorator’s business was for many years carried on by the late George Rivers Higgins, comprising Front Shop, with double show windows; dining-room and kitchen offices, paved court-yard, with passage entrance on the ground floor; good cellarage on the basement; dining-room, with bow window, 4 bedrooms, W. C., paint-shop, and office on the upper floors. May be viewed on application to the tenant, Mr. William Hinkins. Particulars and conditions of sale may be had at the place of sale; Mr. Henry Baker, Solicitor, Bishop Stortrord, and the Auctioneers, at Royston and Buntingford, where plans of the property may be seen.

This paints a pretty good picture of Higgin’s home and workplace. It also brings William Hinkins back into the picture as he was the current tenant.

Between the 1861 and 1871 census reports note that Hinkins painting business grew. It expanded from employing two men and two boys in 1861 to employing fifteen men and two boys in 1871. This is quite an expansion of staff. His success, however, was very short-lived.

William Hinkins passed away on Sept. 11, 1878. He is buried with his wife and daughter in the Royston Cemetery.

William’s two sons, William Howard Hinkins and Francis Robert Hinkins, inherited their fathers Plumbers, Painters, and House Decorators business. In 1881, the staff consisted of seven men and two boys. Hinkins legacy continued, as his grandsons also continued the family trade.

The story doesn’t end here, but this is my stopping point.

To be continued…