Copyright © 2024 by Wendy Waszut-Barrett
My previous post explored the history of Normansfield, it’s theatre, and extant scenery collection.
The Normansfield Amusement Hall was completed in 1879, but theatrical entertainments had been produced at the facility for some time. Already in 1874, scenery and stage machinery were credited to theatre professionals.
On Jan. 2, 1875, The Surrey Advertiser and County Times published a detailed article about Normansfield productions entitled, “Hampton Wick. Entertainment at Normansfield” (p. 5). The article reported, “Perhaps few private theatres for [asylum residents] are better conducted than the one known as Normansfield at Hampton Wick, of which Dr. and Mrs. Langdon Down have sole charge. Indeed the gratifying results which have hitherto taken place at this asylum have been solely due to the kind treatment which the inmates have received at the hands of the prinicpals. At the end of the old year or the beginning of the new there is usually provided a theatrical entertainment, first of all for the amusement of the [residents], and repeated for the benefit of the friends invited by Dr. and Mrs. Downs and the performers, who are servants at the establishment… The performances took place this week, when there were three one act farces played – “Master Jones’ Birthday,” “John Smith,” and “Boots at the Swan.” The actors and actresses were “old hands,” and of course could not be otherwise that well up in their respective parts. The performers included Mr. Walter Lee, Mr. Perceval Langdon Down, Mr. King, Mr. Reginald Langdon Down, Mr. Healy, Miss Graham, Miss Martin, Mr. Smith, Mr. F. Brockley, Miss M. Baxter, and Miss Reed. Between each act there was, as usual, vocal and instrumental music. The acting manager was Mrs. Langdon-Down; the stage director, Dr. Langdon-Down; the pianists, Mesdames Innes and Chapman; cornet, Mr. James; and prompter, Mr. Barry. The stage machinery was again under the control of Mr. Bradley, the scenery painted once more by Mr. Bull, and the costumes supplied, as in former years, by Mr. Fitch.”
The individual credited with scenic contributions was scenic artist, John Thomas Bull (1828-1890). By 1875, Bull had worked in the painting profession for at least 25 yrs. His son, J. T. Bull Jr. not only followed in his father’s footsteps, but also delivered scenery to the Normansfield Theatre.
Makers marks (studio stencils) on Normansfield Theatre scenery denote three periods of scenic artistry produced by the Bull family. The earliest dates from 1874 to 1879, and was produced when J. T. Bull was in a partnership with his brother, George Bull. The two established a partnership as decorators by 1866, adding scenic painting to their services over the years.
Their partnership continued until 1879 when it was dissolved, with J. T. Bull establishing his own firm at 134 New Kent Street – “J. T. BULL, SCENE PAINTER &c., 134 New Kent Road, London, S. E.” 1880 directories listed the new address, noting “Late of 54, Great Queen-street.)
Scenery credited to this firm includes two backdrops (beach and river), the false proscenium border (Grand border and tormentors), side wings (woodland and paneled-room and flats) and props (boat and mirror). Although manufactured by Bull, some of the side-wings were overpainted by Richard Douglass at a later date.
The final stamp indicates the work by Bull’s son, a scenic concern that still listed the business address on Kent Street. Both of John’s sons, named John and Francis, followed in their father’s footsteps, listing that same address early on.
“J.T. Bull & Son, Scene Painter &c. 134 New Kent Road, London S.E.’ also appears on woodland scene flats (repainted and labeled by Richard Douglass at a later date) and a cut drop (labeled a walk-through cloth in conservation reports) that was deemed too fragile to photograph during documentation. Sadly, I have no reference for painting technique during this iteration of the Bull scenic art firm.
I am going to explore the history of the Bull family and their entry into the painting profession by the 1840s. John T. Bull (1828-1890) and George Bull (1830-1895) were brothers, coming of age and working in the various boroughs of following in their father’s trade as a tailor. By 1866, the two partnered to work as decorative artists. Between 1866 and 1879, their services included manufacturing and scenic art.
After the dissolution of J. T. & G. Bull in 1879, George Bull remained at 54 Great Queen St., working as a photographic scene painter until his passing in 1895. There is another familial aspect that adds to the confusion surrounding the name John Bull – BOTH John T. Bull and George Bull named their sons John Bull, and both worked as artists by the 1880s. John Bull was a family name, dating back generations from scenic artist John T. Bull. That being said, I am only going as far back as his father.
To clarify the Bull family lineage:
John Bull (Father, Tailor, 1804-1867)
John Thomas Bull (Son, Scenic Artist, 1828-1890) and his sons John T. Bull Jr. (Grandson, Scenic Artist, 1864-) and Francis Henry Bull (Grandson, Scenic Artist, 1871-1955)
George Bull (Son, Tailor and Photographic Scene Painter, 1830-1895) and his son John F. Bull (Grandson, Photographic Scene Painter, 1862-)
This family was not an easy one to research. There were an abundance of John Bulls in the 19th century. In addition to actual people with the name John Bull, there were fictional characters with the same name, including a satirical character that later personified the United Kingdom:
There was even the play John Bull: or, The Englishman’s Fireside.
This five-act comedy was still playing at London’s Theatre Royal, Lyceum for the summer season in 1847. Here is the advertisement in The Times on Aug. 13, 1847:
And yes…there was even a newspaper that went by John Bull, c. 1820-1892.
Returning to the scenic artists, brothers John T. Bull and George Bull….
You will note that John T. Bull and his son (John T. Bull) continue to be listed as scenic artists or scene painters throughout the nineteenth century. George Bull and his son (John Bull) became photographic scene painters. The only difference is scale, as both used distemper paint (dry pigment paste combined with diluted hide glue).
A photographic scene painter is an artist who produces backdrops for photographers to use in their studios. For example, New York scenic artists Lafayette W. Seavey was well-known for photographic studio backings, as well as stage scenery, delivering his paintings throughout North America.
On Nov. 1, 1881, The Leadville Daily Herald reported, “One of the requirements of an excellent picture is to have backgrounds that will add to the beauty of the work, and as Mr. Brisbois entertains a full appreciation of this fact he has only the work of celebrated New York artist, L. W. Seavey, in his gallery, although they are procured at a price nearly five times as great as some of the less noted painters.” Here is an example of options for photographic backings included in an L. W. Seavey catalogue:
L. W. Seavey ran a large studio in New York City that accommodated the production of not only photographic backings, but also large-scale settings for live theatre.
If an artist, such as George Bull, were solely creating photographic backings, his studio space could be much smaller than a theatrical scene painting studio. This may be one of the reasons why George Bull remained at 54 Great Queen St. and John T. Bull moved to a larger facility at 134 New Kent Road. 54 Great Queen St. Again the Great Queen St. space was a structure that could house up to five separate families (c. 1841), or one family and a small scenic studio (c. 1881).
To put this in context, I am going to share some Bull family genealogy. Here is a map to provide geographical context when I discuss various addresses. I added “walking distance” from Marylebone to Southwark to help with an overall understanding of the distances.
John Bull Sr. (1804-1867) and Maria Heaton Bull (1806-1878), married on Sept. 4, 1827, in St. Marylebone, Middlesex. The couple celebrated the birth of several children: John Thomas Bull (b. 1828), George Bull (b. 1830), James Bull (1832), Mary Ann Bull (b. 1835), Maria Louisa Bull (b. 1840), Margaret Bull (b. 1840), Ann Sophia Bull (b. 1844), and Reuben Bull (b. 1845).
John Bull (Sr.) and his father-in-law, Joseph Heaton, were tailors. George Bull initially followed in both his father’s and maternal grandfather’s footsteps, whereas his brother, John T. Bull, became an artist.
Here is the tale of John Thomas Bull…
John T. Bull was born on June 28, 1828, in Marylebone. When he was baptized a month later, the Bull address was listed as Castle St. East. His father was employed as a tailor.
The 1841 Census listed the Bull family living at All Souls and Trinity, St. Marylebone, Middlesex. The household included John Bull (36 yrs.), Mary (34 yrs.), John Jr. (12 yrs.).
Over the years, J. T. Bull would repeatedly state that his business was established in 1849. This would have been the year when he established his own firm. Bull was 21 yrs. old at the time; an average age to have completed an apprenticeship and other necessary training.
The 1851 Census listed J. T. Bull as an artist, living with his father John Bull (48 yrs., tailor), mother Maria Bull (47 yrs.) and four siblings – George (20 yrs. old, tailor), James (7 yrs.), Mary Ann (5 yrs.) and Margaret (1 yr.) The Bull family lived at 54 Great Queen St (St. Giles in the Fields). They were living in a large building that later housed five families (c. 1861). However, in 1851 there were only two families listed as living at 54 Great Queen Street; the Bull Family and the Joseph Dennis family (a coach maker).
On Sept. 6, 1856, John T. Bull married Margaret Esther Bull (b. 1827) at the Parish Church of St. Luke, Chelsea, Middlesex. In their marriage records, John Thomas Bull listed his profession as a decorative artist, living at 28 Elizabeth Terrace. Margaret listed her address as 22 Sloane Street. They may have been related, as they shared the same surname; Margaret’s father was listed as James Bull, a tailor. However, this may have been a mistake, as records indicate that her parents were Joseph Bull (1790-1857) and Esther Bott (1801-1857). I have yet to find a definitive connection between their families.
By 1856, John and his brother George were listed as decorative artists, living at No. 54 Great Queen-Street, Lincoln’s-Inn. Their names were associated with the address when attempting to help a widow in need. On Nov. 21, 1856, The Times announced, “An urgent and stressing case – a poor aged widow, born 1779, is in very trying arrears of rent for a small room she occupies and greatly fears being turned into the streets and losing her few goods. She earnestly entreats ASSISTANCE from the benevolent, for she is in a most forlorn and destitute condition. For reference and subscriptions direct to Messrs. Bull, decorative artists, 54, Great Queen-Street, Lincoln’s-Inn-fields.” (p. 3).
There was a “Mr. Bull,” listed at the same address three years later. On Jan. 5, 1859, The Times advertised, “Mr. Bull selling a newfoundland dog and doghouse, “and over the distemper”-both being sold as the owner was leaving town, listing No. 54 Great Queen-Street, Lincoln’s-Inn.” This is about the same time that the J. T. Bull’s parents, John Bull Sr. and Maria Bull, moved to Chelsea South, leaving the expanding families of John Bull Jr. and George Bull to live at 54 Great Queen St. Both John Jr. and George were listed as decorative artists, living in was a multi-unit building that housed five families in 1861. George’s household included Henrietta (wife, 33 yrs.), George W. (son, 3 yrs., and Henrietta M. (1 yr.). John’s household included his wife Margaret and 11 yrs. old niece, A. L. Palmer. Their niece was likely helping out, as John and Maria Bull celebrated the birth of their first child that spring. On May 3, 1861Margaret Esther Maria Bull (1861-1930) was born in St. George, Bloomsbury, Middlesex. A son followed three years later in 1864; John Bull (1864-1943) was born in St. Giles, London.
In 1866, John T. Bull and his brother George Bull advertised as scene painters in The Era, listing their address as 54 Great Queen-Street, Lincoln’s-Inn, W. C., London.
The 1871 Census Report listed the John T. Bull and George Bull families living at the same address -54 Great Queen St. At the time both men were listed as scene painters. John ‘s household erroneously listed him by his middle name, Thomas Bull (head, 42 yrs. old), and only included Margaret Bull (wife, 42 yrs.) and Harriet Clark (servant, 26 yrs.). His three children (10 yrs. old Margaret and 7 yrs. old John; Francis was born in 1871) were not included at this household. George Bull’s household Henrietta Bull (wife, 44 yrs.), George William Bull (son, 13 yrs.), and Edwin Thomas Bull (son 7 yrs.), and Emily Kirby Bull (daughter, 2 yrs.). His other two children (11 yrs. old Henrietta Maria Bull and 9 yrs. old John Frederick Bull) were not included in the household. It may have been the case where the children were temporarily split up, or visiting relatives. Such was the case with George Bull’s eldest child in 1861. That year, 3-yrs.-old George Bull Jr. was counted twice in the census; once at the household of his parents, and once at the household of his paternal grandfather in Chelsea. Census reports are somewhat unreliable this way; timing is everything, as well as the capabilities of the census reporter.
J. T. & G. Bull’s partnership lasted for almost a decade. On April 25, 1875, The Morning Post announced that the partnership – J. T. Bull and G. Bull, Great Queen-street, Lincoln’s-inn-fields, scene painters – was dissolved (p. 7). George continued to paint at the address, while John moved into a larger studio on New Kent St. That same year, a “Mr. Bull” was credited with painting scenery for the entertainments at Normansfield. (Jan. 2, 1875, The Surrey Advertiser and County Times, p. 5) The article reported, “The stage machinery was again under the control of Mr. Bradley, the scenery painted once more by Mr. Bull, and the costumes supplied, as in former years, by Mr. Fitch.”
It is important to note that both Bradley and Bull had worked on previous theatrical entertainments at Normansfield. This was not their first year at the facility.
When the Amusement Hall at Normansfield was completed, J. T. Bull advertised the sale of a used scenery collection. On Jan. 26 and Feb. 9, 1879, following advertisement was published in The Era:
“Handsome Fit-Up For Sale, nearly New, Painted by J. T. Bull. Front Proscenium, height, 19 ft.; Proscenium Sides, width, 4 ft.; Act-Drop, Beautifully Painted, height, 15 ft., width, 13 ft 6 in; Two front Proscenium Wings, with return pieces and doors, 6 in by 8 ft. 6 in; Two Chamber Wings, 10 ft. by 4 ft.; Two Drapery Borders, 14 ft. by 5 ft. May be seen at the Theatre of Varieties, Southend, Essex. Useful Stock scenery required, about 17 ft. by 15 ft.”
Bull placed another advertisement the next summer. On August 13 and Sept. 7, 1879, Bull advertised a portable stage with scenery in The Era:
“Handsome Portable Fit-Up For Sale, In consequence the premises being sold. Well adapted for a Hall or for Amateur Clubs &c. It is well Painted, and nearly new, by J. T Bull. Not a Daub. Height of Proscenium, 19 ft.; Width, 24 ft.; Opening, 16 ft., by 12 ft. 6 in. Act-Drop, Proscenium, Wings, with Return Pieces and Doors, Front Chambers with Folding-doors, Two Chamber Wings, Two Boarders, well-made Portable Stage, Foot and Top Lights. Address, Managers, Varieties, Southend, Essex, where the above may be seen.”
The use of portable stages in both halls and ballrooms was commonplace throughout the nineteenth century. Many theatre managers wanted the versatility of a space that could serve as both a performance space and ballroom. Such is the case at the Adelina Patti Theatre where the floor of the hall can be raised level to the stage floor.
The sale of used scenery in the nineteenth century was very common. In act, I have traced numerous second-hand collections that were refurbished and installed in new venues. In some cases, used scenery was taken in as credit on the purchase of new scenery. Second-hand scenery maintained its value. Even scenery that remained on site was touched up or completely repainted.
Some scenery painted by Bull for the Normansfield Theatre was repainted by Richard Douglass. His stencil covers an underlying one. I have repeatedly encountered this in many historic scenery collections at North American Theatres. Also, some theatre owners did not realize that they were purchasing previously used scenery.
Interestingly, in 1879, Richard Douglass was also selling used scenery, listing his address as Painting-room at the National Standard Theatre, Bishopsgate. His advertisements were place near Bulls in the newspaper.
On May 7, 1880, advertisements place by John T. Bull in The Era note: “J. T. Bull, Scenic Artist, Scenery Painted and Lent on Hire Address, 134, New Kent-road, S. E.. Late of 54, Great Queen-street.”
The 1881 Census listed John T. Bull’s family living at 134 New Kent Road, Newington, in the Borough of Lambeth, London. This address was in the London Borough of Southwark. In 1881 the Bull household included: John T. (52, Theatrical Scene Painter), Margaret E. (wife, 52), Margaret E. M. Bull (daughter, 19), John (son, 17, Theatrical Scene Painter), Francis H. (10), and Joseph W. Smith (19, servant). Both of his sons, John and Francis, followed him in the scene painting profession.
On Nov. 25, 1882, The Era published another Bull advertisement, listing the establishment year as 1849.
On November 10, 1890, scenic artist J. T. Bull (Sr.) passed away. After John T. Bull Sr.’s passing, the scenic studio of J. T. Bull & Son was established.
There are a few aspects of the name change that I find particularly interesting, as J. T. Bull and son was not in place before the father’s passing. I would love to explore this more in a future post, but for now, I want to mention that the widow of J. T. Bull was also listed as a scenic artist in two census reports. The 1891 Census reports listed Margaret Bull (widow of John T. Bull) as head of the household in Newington. London. She was living with the two sons, John (27 yrs.) and Francis H. (19 yrs.); all three listed their occupation as “scene painter.” This was not a typographical error, as Margaret was again listed as a scene painter ten years later in the 1901 census, with the additional designation of “employer.” I wonder if Margaret continued her husband’s business, keeping the name and adding her son – for J. T. Bull.
There is one other thing to keep in mind. In 1891, Margaret’s brother-in-law George Bull (60 yrs.) and her nephew, John F. Bull (29 yrs.), are working as a photographic scene painters at 54 Great Queen St.
The firm of J. T. Bull & Son continued to thrive, repeatedly making news throughout the 1890s. On August 5, 1892, The Times published an article about the newly-renovated Egyptian Hall reporting, “new scenery by J. T. Bull and Son.”
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On May 11, 1895, The Era described the work at the newly-constructed Canning Town’s Public Hall, reporting: “The fit-up was a model of compactness, and this, and the admirably painted scenery reflected great credit on Messrs. J. T. Bull and Sons, by whom they were supplied” (p. 7).
On Jan. 18, 1896, The Era: “Amusements in Nottingham…Grand Theatre, A Midsummer Night’s Dream…Some charming scenery has been painted by Messrs. J. T. Bull and H. J. Pedgeon…” (p. 18). Bull Jr. was working with Henry James Pedgeon (1869-1928), a scenic artist associated with theaters in Oldham (Colosseum) and Plymouth (Royal Theatre and Grand Theatre).
On June 10, 1896, Francis Henry Bull Bull married Harriet Agnes McGowan (1872-1963). On July 22, 1896, his older brother, John Bull, married Effie Grace Purkiss (1871-1938) at Saint Matthew, Ashford, Surrey.
John and Effie celebrated the birth of their first child, Edgar Frederic John Bull in 1898, with Vera Mary Bull arriving four years later. Both children were born in West Norwood, Surrey.
Francis and Harriet Bull celebrating the birth of their first child, Reginald Francis Bull the in 1899. Francis continued to work as both a scenic artist and sculptor. By 1901, settled with his family in Dulwich, Camberwell, London.
Throughout 1897, “J. T. Bull & Son, Theatrical Scene Painters” placed full-page ads London’s The Theatre (a magazine published in London between 1877-1897): “J. T. Bull & Son, Theatrical Scene Painters. Every Description of Theatrical Scenery on Hire, Suitable for Halls, Drawing Rooms, Bazaars, &cc. Tableaus Vivants a Specialty. Platforms, Gas-Fittings, and Limelight supplied. Estimates Free. Head Office: 134, New Kent Road, London, S.E. Painting Room: New Kent Road. Manufactory: Munton Road.“
Advertisements stated that the firm had been established in 1854. As with most scenic studios, establishment years are somewhat fluid and change over time. In this case, J. T. Bull had not been working with his son since that year but had been active in the theatrical scene painting business since that time.
1897 advertisements also noted that the firm has been “Specially engaged by Mr. Wilson Barrett to paint scenery for English and American Touring Companies of The Sign of the Cross. Bull also included testimonials from past clients that included: Mr. J. N. Maskelyne of The Egyptian Hall, London; Ben Greet of the Town Hall, Dover; Sire George Pigot of Pembroke Lodge; L. C. Venables of the Surrey Masonic Lodge; and Thomas Whitford of Montrose College for an amateur production of The Mikado.
On Dec.11, 1897, The Era announced that the Hampstead Dramatic Society’s, St. George’s Hall, performance of Walker, London, “The new scene, a pretty bit of up-river landscape was specially painted by J. T. Bull & Son, of New-Kent road.”
Life began to change for John Bull by the late 1890s. In 1899, John T. Bull became a Freemason. Grand Lodge of England records list John Bull, was initiated at the age of 35 yrs. old on April 6, 1899, listing profession, scenic artist, Crystal Palace Lodge No. 742.
During this time, the scenic artistry of Francis H. Bull (J. T. Bull Jr.’s little brother, 1871-1955) also began to make news. On Jan. 21, 1899, The Era described a woodland scene for The Coriscan Brothers: “…the scenic artist, to whose artistic skill was due to the pretty piece of woodland labelled the Forest of Fontainbleu…was the brushwork of Mr. Francis H. Bull, and we hereby give him credit for his artistic and most effective picture” (p. 21). That year, Francis H. Bull was credited with scenery for the Theatre Royal in Chatham, a new playhouse erected by Charles and Lionel Barnard in High Street, Chatham. On August 5, 1899, The Era reported, “Most of the scenery, including the handsome act-drop, is from the studio of Mr. Francis H. Bull. Mr. Bull has worked into the drop two doors, and entrance and exit for the use of the players taking a call” (p. 7) From 1905-1930, Francis Henry Bull listed his studio at 4 Lower Bland St. SE1.
On Nov. 29, 1899, The Daily Telegraph reported that a “Donation for Our Soldiers’ Widows and Orphans Fund included scenery by “J. T. Bull and Son, 134, New Kent-road, Scenic Artists, and Employes” (p. 6). That spring, The Daily Telegraph announced,“Messrs. J. T. Bull and Son, 134, New Kent-road, are still willing to supply scenery free for performances in aid of the War Fund”( 21 Mar 1900. p. 4).
Work continued to plug along for John T. Bull that year. On June 2, 1900, The Era noted another scenic installation at the Theatre Royal in Ryde after the venue changed hands: “A new act drop has been executed by Mr. J. T. Bull, the principle feature being a view of Osborne House.” Later in the year, Bull delivered new scenery for a production of Riding Hood at the Public Hall in Hastings. On Dec. 29, The Era reported, “The scenery is effective and is the work of Mr. J. T. Bull of London, who has also designed the properties and mechanical effects.”
The 1901 Census listed the John T. Bull household as including John Bull (head, 37 yrs., Scenic Artist Manager), Effie Bull (wife, 30 yrs.), Edgar Bull, son, 3 yrs.), Margaret E. Bull (mother, 73 yrs. Scene Painter, employer), and Elimily Moore (17 yrs. old general servant).
Newspaper notices describing the scenic work by J. T. Bull & Son began to somewhat dwindle after 1904, but picked up again by 1911. On March 9, 1904, The Times listed the auction of Bull’s scenery for St. George’s Chapel, Abermarle Street, Piccadilly. The announcement reported, “Other lots consisted of a complete set of stage scenery for The Bells by Leopold Lewis, painted by Messrs. J. T. Bull and Sons, comprising seven drop scenes, one gauze ditto, and 14 wings, together with staging on tressels, foot and top lights, snow-box, &c. – L15.
On Jan. 3, 1905, The Daily Mirror announced that The Coming Race at St. George’s Hall was painted y Mr. J. T. Bull and Mr. McCleery” (p. 6). J. T. Bull & Sons had not closed, but was slowly changing. Bull would continue to work with McCleery on other projects over the years, including
In 1905, an auction took place at the Bull studio, 134 New Kent Road. On June 1, 1905, The Daily Telegraph announced the sale of a stock of theatrical scenery by Bingham & Boughton (p. 4).
There is much more to tell about the scenic art careers of both J. T. Bull Jr. and Francis H. Bull, but that is a tale for another time. My next post will be about scenic artist Richard Douglass.
To be continued…
