Travels of a Scenic Artist and Scholar: D. T. White and the Adelina Patti Theatre Act Drop

Copyright © 2024 by Wendy Waszut-Barrett

This is the final post about my trip to the Adelina Patti Theatre in Craig Y Nos, Wales, on August 7, 2024.

Scenic artist, Walter Hann, was the subject of my previous post, exploring the his creation of the stock scenery collection. The act drop for the theatre was painted by another London artist – Daniel T. White.

An illustration of Patti’s new act drop was published in Western Mail on August 13, 1891.

The article, entitled “Opening of the Patti Theatre at Craig-Y-Nos,” reported, “Upon entering the house the visitor is struck by the beauty of detail sown everywhere in this miniature opera house. Before him rises the act drop, which is an elegant picture, by White, of London, of the prima donna in the character of Semiramide driving a chariot and pair of horses…The act drop, which is an elegant picture, by White, of London, of the prima donna in the character of Semiramide driving a chariot and a pair of horses.”

At the time I read the article, I had no idea that “White, of London” was actually Daniel Thomas White. My mind initially whirled, as I contemplated several nineteenth-century scenic artists named White. So, with only a common surname and a large city, there was very, very little information to start. Regardless, I knew that “Mr. White, of London” was no amateur artist, local hire, or talented youth at the beginning of his career.

For many nineteenth-century theaters, stock scenery collections and act drops were created by two different artists. Unlike standard stock scenes, the painting act drops (also referred to drop curtains or front drops in North America) required an extensive skill set, as well as familiarity with all subjects matter, including the painting of drapery, ornament, architecture, landscape, animals and figures.

On Dec. 18, 1894, in The Philadelphia Inquirer reported: “[The act drop] is the most expensive piece of furniture in any playhouse. Managers are most solicitous about the care of a handsome drop curtain than almost any other appointment in the theatres. They are usually painted by the artists of wide fame in the peculiar branch of art which they represent, whose charges for the work range from $1000 to $3000.”

A year later, The Magazine of Art published an article written by W. Telbin entitled, “Art in the Theatre: Act-Drops.” In 1895, he wrote, “…in the interval between acts a painted canvas, either representing drapery or other form of decoration, or a landscape (classical mostly), has been used. A commission to paint this canvas was always sought for by the scene-painter, for it was, and is, comparatively speaking, the only durable record of his work. Such a commission was considered a diploma of merit of the highest order, only falling into the hands of those of the ripest experience.”

My quest to track down “White, of London,” started with the opera. Semiramide is a two-act opera by Gioachino Rossini, based on the legendary figure Semiramis of Assyria who was heralded for her intellect, military leadership, and beauty.

I was surprised to find that Adelina Patti is frequently mentioned in various histories written about Semiramide. She performed the title role as part of the Cincinnati Opera Festival in 1882. This annual event not only featured world-class performers, but also featured well-known scenic artists from England, Europe, and the United States. On Jan. 16, 1882, the Chattanooga Daily Times provided a little context for the event, reporting, “The first Opera Festival realized the intentions of its founders, excelling as it did, in lyric, dramatic, and scenic splendor, any previous performance ever given in this country, if not in Europe; yet the second Festival will be more complete and attractive than any predecessor. The principal operas to be given are: “Fidelio,” Beethoven; “William Tell,” Rossini; “The Huguenots,” Meyerbeer; “Magic Flute,” Mozart. These splendid works of great composers will be presented with a magnificence and completeness heretofore unequaled. The scenery, costumes, and the stage properties of these great opera have been prepared in Italy, at a great expense, by Colonel Mapleson. The scenery, painted by Magnani, the greatest of living scenic artists, is elaborate and exceedingly beautiful.”  Other scenic artists associated with the Festival between 1881 and 1882 included Charles Fox, F. S. Humphreys, D. B. Hughes, John, Rettig, DeWitt C. Waugh, H. E. Burcky, and many others.

Col. Mapleson, named impresario for the Festival, was the key link between the Cincinnati Opera Festival and Adelina Patti. It was Mapleson who brought Patti overseas for her London debut in 1861, and Mapleson who brought her back to the United States for a, 1881. On Feb. 20, 1881, The Cincinnati Enquirer announced in “Opera Festival Notes” – “Adelina Patti will be the prima-donna at the Opera Festival next year” (p. 12). Interestingly, this was a week after the same newspaper announced, “Adelina Patti gets $3,000 for every performance she gives” (14 Feb 1881, p. 1). Patti consistently made American news throughout the early 1880s, even when performing in other countries. For many Americans, she was a household name.

It was Patti’s time spent in Cincinnati that made me contemplate if “White, of London” was actually the Cincinnati-based African-American scenic artist Solomon E. White (1841-1912). There were a few things that caused me to go down this particular rabbit hole. Solomon White had made a name for himself by the 1860s, working at the National Theatre, Robinson’s Opera House, Freeman’s Theatre, and Wood’s Theatre. He was a free African-American male who travelled all over the country to complete a variety of painting projects, including residential murals, oil paintings, and public artworks. Solomon White’s story is quite remarkable, but there is a period (c. 1885-1895) when he disappears from print – a time that coincides with the planning and construction of Patti’s Theatre. I had often considered that the omission of White’s name from North American newspapers at this time possibly indicated work abroad; a common occurrence for African-American theatre artists who sought friendlier receptions on foreign shores. This was also a period in American history accentuated by increased hostilities against Black communities. Amazingly, an artist named “Mr. S. E. White” was exhibiting in England at this time, including at the eleventh annual exhibition of the Sheffield Society of Artists in 1885 (Sheffield and Rotherham Independent 12 August 1885, p.3).

In the end, I traced the lives and careers of well over 100 other scenic artists with the same surname.  This meant looking at alternative spellings too, such as Whyte and Whaite. Many nineteenth-century scenic artists working in the United Kingdom, United States, and Australia are now in my database, including Septimus Whaite, Marmaduke “Duke” John Horton White, Eugene N. White, Frank H. White, H. O. White, J. B. White, James H. White, James V. White, John White, T. White, and Walter White, to name a few.

Just about the time I was ready to give up, I stumbled across the following article, published in The Era on October 25, 1868: “The Commencement of the season at the Haymarket Theatre is an event of some importance in the dramatic world, and on Monday night last a large audience assembled to welcome Miss Bateman on her return to the London stage. A fortnight since we recorded the principal features of the new decorations and embellishments which have been executed in such perfect taste under the immediate superintendence of Mr. John O’Connor, Mr. Buckstone’s principal scenic artist. The co-operation of Mr. W. Telbin, Mr. E. C. Barnes, and Mr. Daniel T. White has resulted in the most advantageously, and the Theatre now presents a remarkably chaste and elegant appearance. It will be remembered the above-named gentlemen are respectively answerable for the new act-drop (representing Tasso reciting a poem at Venice), the magnificent allegorical painting on the proscenium, and the four medallion portraits of Shakespeare, Ben Johnson, Garrick, and Sheridan. The two groups of Cupids (one in each spandrel) are also painted by the clever young artist Mr. D. T. White. As regards the act-drop, the name W. Telbin is a guarantee that he picturesque subject chosen would be treated in the highest style of art. The whole of this Venetian picture is suffused with the rich glow of sunset, and Mr. Telbin’s reputation as a colourist if fully sustained.”

This article places White within prestigious scenic art circle as an up-and-coming “clever young artist.” Here is his tale…

Daniel Thomas White was born on April 19, 1843. Baptized on July 7, 1843, at Saint Mary-St. Marylebone Road, St. Marylebone, London, he was the son of a chemist, Daniel White (1801-1886), and Caroline Docwra (1811-1893). In 1843, the White family resided at 19 Park Terrace.

He is another scenic artist that links the painting and chemistry trades, continuing a topic in my recent posts about Edmund Handby (Victoria Hall, Settle) and George Rivers Higgins (Georgian, Theatre, Richmond).

Daniel T. White Jr. was the second youngest son of several children born to the couple. His siblings included: Edmund White (b. 1831-1915), Jane Margaret White (1833-?), George Farr White (1836-1900), Frances “Fanny” Anne White (1838-), Elizabeth Caroline White (1840-1840), Louisa White (1841-1931), and William Edwin White (1844-1915). The 1851 Census listed Daniel T. White as one of several children living with their maternal aunt Jane M. Docwra (1890-1895), in Hatfield Mill (Mill Green) in Hertfordshire, England. Jane Docwra was Caroline White’s oldest sister; their parents were William Docwra (1784-1852) and Elizabeth Farr (1786-1812).

In 1851, Daniel’s Aunt Jane was clearly listed as the head housekeeper at Mills House. Her household included the following children: Caroline White (11 yrs., niece), Louisa White (9 yrs., niece), Daniel White (7 yrs., nephew) and William White (6 yrs., nephew). Although the entry of each child’s occupation is somewhat illegible, it looks like “paint pupils.” Docwra’s household also included lodger George Harrison, noted as the Millers foreman.

Meanwhile, Daniel’s parents and three older siblings (Edmund, Jane and George) were living at 19 Park Terrace, Christchurch Parish, Middlesex County. For geographical context, this is approximately 42 miles south of Hatfield, near London. Both Edmund White and Jane White were part of the family business, listed as assistant chemists.

Now, I was extremely curious about this whole living situation, so I started looking at previous census reports. It seems that when the White children were quite small, they lived with their Aunt Jane,. Once they were old enough to support help their father as assistant chemists, they returned home. In 1841, Jane White (7 yrs.), George White (5 yrs.), Fanny White (3 yrs.), Charles White (3 yrs.) and Caroline White (1 yr.) all lived with Aunt Jane in Hatfield. However, at that time Jane Docwra’s occupation was listed as “Ink.”

There is a big problem census reports and young children, as that a lot can happen over the course of ten years. Unless they make news (death, marriage, or a legal matter), it is difficult to follow their lives.

By 1861, Daniel White Jr. and his sister Frances were the only children living with their parents at Christchurch Parish, St. Marylebone, Middlesex. That year, the White household included: Daniel White Sr. (60 yrs.), Caroline White (50 yrs.), Frances White (23 yrs.), Daniel White Jr. (17 yrs.) and their servant Mary Cooper.  This was about the same time that Daniel should have entered the scenic art profession, as an apprentice or assistant. Unfortunately, no occupation was listed for him in the 1861 census, not even as his father’s assistant.

It was during the 1860s, however, that Daniel T. White showed promise as an artist and began exhibiting his paintings. On April 7, 1867, The Era described a painting by D. T. White in an article entitled, “French and Flemish Gallery of Paintings for 1867.” The article reported, “Among the social and familiar every-day incidents of life, which the French artist catches up with such gusto and avidity, and out of which he always contrives to work a good picture, we wish to draw attention to No. 208, In the Bois de Boulogne, by D. T. White. The subject is the early advances of a French soldier on the affections of a middle-aged nursemaid, or bonne, who while listening to the gallant wooer, allows her charges to take care of themselves. This picture, as an illustration of character, is a study.

I want to pause here to also note that were other individuals named Daniel White at this time, men who also went by D. T. White.

The scenic artist who painted Adelina Patti’s act-drop is Daniel Thomas White (1843-1908), the son of chemist Daniel White (1801-1886). However, throughout my research, I noticed that a lot of art historians confuse the dates and activities of four different men – each named Daniel White. In addition to Daniel Thomas White and his father, there was an art dealer and another artist named Daniel White.

For example, on March 10, 1868, The Daily Telegraph noted the passing of Daniel White on Feb. 5, listing him as a “Dealer in works of art, No. 45 Maddox-street, Bond-street, Oxford-street in county of Middlesex”(March 10, 1868, p. 1). This is neither the father nor the son in my story. Daniel Thomas White’s father (Daniel White Sr.) passed away on Sept. 7, 1886. Unfortunately, the art dealer also appears in numerous historic records as D. T. White – hence, the confusion. The Royal Academy listing for D. T. White notes “(fl. 1850-fl 1864) Art dealer based in Maddox Street, London.”

AND… there is a second family of London artists with the patriarch named Daniel White. I want to make sure that people don’t confuse this individual with the scenic artist who painted the Patti act drop. The 1911 census lists 71-yrs. old-widower and artist, Daniel White, living with his three sons in St. Marylebone. His sons were Arthur Charles White (son, 37 yrs., artist), Percy Alfred White (son, 34 yrs., artist), and Charles Daniel White (son, 29, insurance clerk). This Daniel White (son of Thomas and Harriet White) worked at various 19th-century trades, including tin plate work. He died in 1921 and is buried in the same plot with his eldest son, Arthur Charles White (1876-1943). Again, this is a completely separate family.

There is even a stage character named Daniel White from a comic drama written by  H. T. Craven; a production titled MILKY WHITE.

Unreal.

Advertisements that appear from the 1860s onward really threw a screw in the works. For example, here is a Want Ad in The Era, published on March 21, 1885 (p. 20).

I am certain that Daniel Thomas White (1843-1908), son of Daniel White (1801-1886), is the “White, of London” who painted the act drop for Adelina Patti’s Theatre. He assisted scenic artist, John O’Connor, throughout the 1860s.

On Oct. 18, 1869, The Times advertised: “TREASURE TROVE, Operetta, at 7. The music by Offenbach. The scene by Mr. F. Lloyds. Characters by Miss Susan Pyne, Miss Henrietta Everard, Miss Bessie Loviel, Mr. Frank Crellin, and Mr. Henry Broughton. At the conclusion of the Operetta, a New Act Drop, “King Charles Leaving St. James’s Palace for the Play,” painted by O’Connor (the figures by Mr. D. T. White) will be exhibited. – ST. JAMES THEATRE TO-NIGHT (Monday)” (p. 6).

John O’Connor (1830-1889) was extremely popular as both a scenic artist and easel artist, well-known for his landscapes and architectural paintings (cathedrals, churches, old buildings and street scenes). His artworks were exhibited across the country, and he was associated with the Society of British Artists, the Royal Academy, Royal Watercolour Society, the Royal Hibernian Society, and many other organizations. Much has been written about his theatrical contributions. However, for the purpose of this story – O’Connor was principal scenic artist at Theatre Royal, Haymarket, from 1863-1878, having succeeded William Callcott. Upon his passing, The Era reported, “We think we are correct in stating that the drop-curtain still used here [Haymarket Theatre] was the work of O’Connor and a pupil of his, Mr. Daniel White, who painted the four figures dancing a minuet” (p. 9). O’Connor’s obituary also remembered his “correctness of drawing, manipulative skill, and keen sense of the picturesque in the strongest light.”

It was O’Connor who even submitted a sketch of the Haymarket paint room that was published in The Graphic on Dec. 27, 1873.

In 1871, Daniel T. White was listed in the Census as an artist, living with his older brother in Kingston, Surrey. The White household included George F. White (35 yrs., surgeon), Caroline (30 yrs.), Daniel T. White (28 yrs., artist), Mary Ann Steven (28 yrs., servant) and James Peters (17 yrs., groom).

1871 was the same year that D. T. White, E. F. Clarke, and W. J. Hennessy were credited with illustrations for a publication entitled, “The Dark Blue.”

I was also astounded to learn that in 1877 Daniel Thomas White was hired by Henry Labouchère to provide artwork for the new publication “Truth.”  The was remembered in an article entitled 50 Years of “Truth” that was published in The Evening Dispatch on January 5, 1927 (page 3). The article reported, “The jubilee number of “Truth,” which first saw the light on 4 January, 1877, appears to-day. It was founded by Henry Labouchere when he was 45 years of age, and its number bore on the front page which it still bears. The artist, Daniel Thomas White, was an unknown man who drew the design “on spec,” and sent it to Labouchere who, it is believed, paid £10 for it…for the first few years Labouchere edited the paper, and turned out columns of paragraphs, lengthy articles of several pages on theatrical affairs and a “city” article of several pages…”

Here is the link to the first volume, numbers 1-26, with D. T. White’s illustration: https://babel.hathitrust.org/cgi/pt?id=umn.31951002799229p&seq=17

In 1880, D. T. White was also listed as one of several men associated with the Junior Arts Club. On May 12, 1880 The Express reported, “The Junior Arts Club is the title of a new club at Lancaster House, Savoy, W. C. It is intended to be entirely a social club to facilitate intercourse between members of the literary, dramatic, artistic, and musical profession. It is anticipated that the rooms will be ready for occupation by Ladyday, when an inaugural dinner will be held. The following gentlemen constitute the honorary committee: – Sir Julius Benedict, J. Billington, H. J. Byron, Dutton Cook, W. W. Fenn, Luke Fildes, A.R.A.; W. P. Frith, R.A.; E. W. Godwin, F.S.A.; Major A. Griffiths, John Hollingshead, Henry Irving, Blanchard Jerrold, J. E. Millais, R.A.; J. C. Parkinson, C. Santley, Clement Scott, Major Hawley Smart, E. Solomon, Ashby Sterry, Charles Warner, D. T. White, W. G. Wills, and Edmund Yates” (p. 3).

By 1881, Daniel was living with another White brother in Christchurch Parish, St. Marylebone. Edmund White was now running the family business. The census listed the White household as including Edmund White (Chemist), Jane White (wife), George P. White (6, son), Edward D. White (3, son), Marshall Langtry (asst. Chemist), Josephus Mundaye (Chemist), Daniel T. White (brother, artist), Cecilia Purday (cook), and Elizabeth Bradford (servant).

In 1885, he married Maria Ann Curling (b.1861) in St. Giles Parish, London. Tragically, his young wife died that same year, and he did not remarry until 1897.

On Dec. 24, 1887, The Era Published an article entitled “The Drama at the Art Institute and the British Artists” (p. 9). D. T. White was listed as one of the contributors to the winter exhibition of the Institute of Painters in Oil Colours in Piccadilly. Of White’s artwork, the article reported, “Mr. D. T. White, who shows us, 509, “Garrick Introducing the Actresses to Dr. Johnson at his Theatre.” The actresses might have been portraits of Kitty Olive and Mrs. Abington, but are not. The Garrick is represented by Mr. White as almost of as many inches as Johnson, a height which makes Foote’s well-known jest about marionettes being “not so large as life – but only a little bigger than Mr. Garrick,” quite meaningless. The result of this introduction we know from Boswell was many a pleasant visit behind the scenes of Old Drury – visits which the susceptible old man, abruptly brought to an end, as he told Garrick himself, because the voluptuous charms of his actresses disturbed his meditations. Happily for the peace of mind our modern men of letters, they are not allowed to profane the mysteries of the Green-room!”

The 1891 Census listed Daniel as part of his mother’s household at No. 22 Orchard Road, Kingston, Surrey. Now a widower, Daniel listed his occupation as artist painter/sculptor. His older sister Caroline, now 51 yrs. old, was also living with their mother. This was just after he painted the act drop for Adelina Patti’s Theatre at Craig Y Nos Castle in Wales.

Amazingly, in 1895, White’s design for Patti’s Theatre act drop was pictured in The Magazine of Art!!!

In an article entitled “Art in the Theatre: Act-Drops,” White’s work was featured alongside that of William Telbin, Henry Emden, John O’Connor, F.  Harker, and Hawes Craven. I had accidentally stumbled across this article while doing one last search for “D. T. White.” 

What is remarkable about the image in the article is that it shows the actual design – not the completed act drop. We are able to see how certain elements were altered during the actual painting, including the addition of soprano roles to the border (see image below).

Interestingly, White’s design was criticized by William Telbin, author of the article. He wrote: “I also think that too much action is to be avoided on an act-drop. In the illustration on page 339, “Semiramide Driving the Chariot,” – though I have only seen the sketch herewith reproduced. The drop hangs in Madame Patti’s private theatre at Craig-y-Nos. Galloping horses must, of course, represent violent action, therefor the choice of subject I think not wise; calm water, placid skies, and the graceful rhythmic movement of the minuet – rather than stormy seas, wild and driving clouds, or dizzy whirling waltz – and thus the movement and colour in the School for Scandal scene exactly right.”

Wow….tell that to the dozens of theatre managers who selected Ben Hur’s Chariot Race as the subject for drop curtains…

Telbin’s article also included an image of the Haymarket Theatre Act drop, credited by D. T. White and John O’Connor.

Of this act drop Telbin wrote, “A decorative subject agreeable in coulour, graceful in design, will not offend in one case and may add tone in the other; I distinctly feel that representations of scenes from particular plays are inadvisable. In support of this opinion, two illustrations form subjects are given. The first is a reproduction of Mr. D. T. White’s and John O’Connor’s picture from the School for Scandal as represented by Mr. and Mrs. Bancroft at the Prince of Wale’s Theatre; and the other, Charles the First and Henrietta Maria in the grounds of Hampton Court Palace, by Mr. Hawes Craven, for the Lyceum. They are both charmingly painted, and most agreeable subjects, but are too distinctly individual to be quite appropriate in their agreeable public position.”

I have to wonder if Telbin was trying to pick a fight at this point. There is nothing like criticizing the work of your colleagues in a very public manner – and in an ART magazine.

A few years after Telbin’s article, Daniel White married again. At the age of 54 yrs. old, he wed 42-yrs.-old Kate Elizabeth Beyant Turner in Wandsworth, England. This was a second marriage for Kate too. Her first husband had been a banker, Charles Turner (1807-1891), 44 yrs. her senior. The childless couple lived in a house full of servants near the end, their marriage lasting from 1883 until Charles’ passing in 1891.

The 1901 Census listed Daniel and Kate White as living in Putney, London; White’s occupation as “artist oils/sculptor.” Daniel T. White passed away only seven years later, just shy of his 65^th birthday, in 1908. He is buried at Putney Vale Cemetery, in Wandsworth. Kate White outlived her husband by many years, living until 1936. I have located precious little information about her life as a widow.

It was almost 90 years before Daniel T. White made the news again. One of his paintings was pictured in The Independent On April 29, 1990. Titled “Battledoor and Shuttlecock,” it was part of the exhibit London’s Pride: the History of the Capital’s Gardens’ at the Museum of London, that ran from May 1-August 12, 1990.

All that remains of White’s legacy is a handful of oil paintings, some newspaper articles, and the Adelina Patti Theatre act-drop. Despite severe deterioration, the act-drop is the only extant example of White’s scenic art. It celebrates his brilliance as a scene painter who studied with John O’Connor. This drop desperately needs to be stabilized to prevent irreparable damage. It is a national treasure, a culturally significant artifact in the history of world theatre that not only documents the scenic artistry of Daniel T. White, but also the theatrical vision of Adelina Patti.

To be continued…