Copyright © 2024 by Wendy Waszut-Barrett
“Richard Douglass, Painting Rooms, Next Grand Theatre, London N.” appears on several wings at the Normansfield Theatre.
He painted over several woodland scenes that were originally delivered by J. T. & G. Bull to the stage. These pieces were repainted sometime after 1891; as 1891 was the year that Douglass moved his painting rooms from Tottenham Street to the Grand Theatre in Islington.
Samuel “Richard” Douglass was a prolific scene painter, theatre manager, and comedian. His parents were theatre manager John Douglass (Sr.) and Jane Isabella Goodwin. John (1814-1874) married Jane Isabella Goodwin (1816-1881) on Feb. 11, 1835. The two celebrated the birth of their first child, John Thomas, in 1842, with Samuel Richard Douglass arriving two years later on March 17, 1844. Born in Lambeth, Surrey, England, he was named after his paternal grandfather, Samuel Douglass (b. 1780).
The year after Richard’s birth, John Douglas began managing the National Standard Theatre in Shoreditch. For geographical context, Shoreditch is located in the London Borough of Hackney, considered to be part of the East End.
This theatre, also known as The Standard, was first built in 1837 on the site of the Royal Standard Public House and Pleasure Gardens. It was located opposite the Eastern Railway Station. The original structure was rebuilt in 1844, absorbing an adjacent site, with twelve houses. The new structure was home to not only a stage, but also a circus arena.
On May 17, 1845, The Illustrated London News reported, “The East-enders have now their Amphitheatre, or Cirque Olympique, for equestrian performances, which the proprietors of the New Standard Theatre have just provided for, in a novel and ingenious manner…The interior is of the horseshoe form, and a domed roof…The proscenium is 30 feet wide by 30 feet in height; the auditory has a circle of ten private, and fourteen public boxes, which, with the pit and gallery, will accommodate 2200 persons” (p.320). The stage and proscenium boxes were built to recede, thus revealing could shift, revealing a circus ring that could be filled with water.
The theatre became a training ground for his children. John and Jane Douglass celebrated the birth of five other children arrived over the years: Henry Charles (b. 1848), Alice Clara (b. 1850), Frederick Jerrold (b. 1852), Arthur Douglas (b. 1857) and Agnes Margaret (b. 1858). Then network of theatrical support continued as the family expanded. Three of his five sons followed in their father’s footsteps: John Jr., Richard, and Arthur.
I am going to start with a few excerpts from his father’s obituary entitled, “Death and Memoir of Mr. John Douglass.” Published on Feb. 8, 1874, in The Era, the obituary reported, “Acting under the advice, and profiting by the influence, his uncle, William Douglass, was the gas engineer at Covent-garden Theatre, he obtained, at the age of eleven, the envied eighteenpence a night at that time given to the small auxiliaries who appeared in Pantomimes. Farley, the famous inventor and arranger of these spectacular productions, speedily chose him out from a throng of other urchins as his favorite “Imp.” Whatever little John Douglass did he was sure to throw his heart into, and, indeed on one occasion, when he appeared (April 12th, 1826) as one of the Sprites of the Storm in Weber’s grand romantic opera of Oberon, this excessive zeal nearly brought him into serious tribulation. Fortunately, the mask he wore enabled him to escape the consequence of his disregarding stage directions, and on Boxing Night, 1826, when the Pantomime of Riquet with the Tuft was produced at Covent-garden Farley made a special point of selecting “clever little Jack” for the principal Turnspit Dog in the Magic Kitchen. At this Theatre, studying attentively in the best Theatrical school, Master John Douglass remained till he grew up to manhood, and he then began to try how far the lessons he had acquired would give him the position to which his aspirations tended. There were several small, but well-managed, Theatres at this period, unrecognized by the Magistrates, endeavoring to break through the strict cordon of the Lord Chamberlain, and to one of these unlicensed Theatres, in Westminster, Mr. John Douglas attached himself. He was an excellent dancer, a good pantomimist, a proficient broad swordsman, and one of the best of stage sailors… It may also be noted that Mr. John Douglas played with great success some of his nautical parts at Drury-lane in the early time of Mr. E. T. Smith’s management… All these acquisitions made him immensely popular, and having now to rely more than ever on his own resources – for his worthy uncle, William Douglass, had been killed by a terrible gas explosion at Covent Garden Theatre, November 18, 1828 – he worked with redoubled energy. After going through a round of characters in nautical melodramas which caused his name to be prominently brought forward, he became the obscurity, and here he continued several years, advancing his own interests and that of the property. In 1845, Mr. John Douglas became Manager of the Standard Theatre, 204 High-street, Shoreditch, and after seven years afterwards he became possessed of the freehold. In this management he succeeded Nelson Lee, who then went to the City of London. Recognizing the capabilities of the establishment, and the requirements of the educated theatrical taste of playgoers in that populous district, Mr. John Douglass conceived the possibility of paying, with remuneration to himself, the very largest salaries to distinguished artiste’s previously only seen at the West-end…The Theatre which he had raised to such a pitch of unexampled prosperity was turned down on the morning of Sunday, October 21, 1866; but, undaunted by this disaster, Mr. John Douglass raised an infinitely superior structure on the site, and purchasing some freeholds of some adjacent properties, the energetic Lessee gave to the East-end of London the advantage of the largest Theatre in the Metropolis. The magnificent new building, which remains as a monument to his enterprise, was opened with a grand inaugural operatic concert on Wednesday, December 18th, 1867, and astounded the public with its four tiers of boxes and ninety private boxes. This building was constructed entirely without architect’s or builder’s plans. The points of the site were practically fixed, and the theatre measurements traced on the ground itself. The shape of the Theatre (so much admired) was made in bricks on the ground of the old Theatre by the late Mr. Douglass himself, and with vast seating accommodation were due to Mr. John Douglass’ practical suggestions. From 1833 to 1845 Mr. John Douglas was Manager successively of the Gravesend Theatre, the old City Theatre in Milton-street, the Orange-street Theatre, Chelsea; the Clarence (now Cabinet), King’s-cross; the Yorkshire Stingo (now the Marylebone Baths), the old East London, the new Queen’s, Windmill-street, Haymarket (now the Argyle Rooms), and the Westminster, as before stated. In 1857 he also became Manager of the Pavilion Theatre and carried on that speculation conjointly with the Standard for fourteen years. His last appearance on the stage was in Ben the Boatswain, May 1869. Not only as actor, manager and proprietor, but also dramatic author, Mr. John Douglass deserves to be remembered for both the Marylebone and the Standard he contributed several effective pieces. As may be imagined from his early training, he had valuable knowledge of stage effect, and his arrangement of pantomimic action and his invention of changeable devices made the Standard Pantomime always exceedingly popular and amusing. Among the family left to mourn his loss his sons – one the eminent scene painter, and the other the author of several popular pieces produced at the Standard – will be living evidence of the care and affection which he bestowed on the education of his offspring.”
The Douglass children grew up in the shadow of John Douglass, learning a variety of theatrical trades at the Standard Theatre.
The 1851 Census listed the Douglass family residing at 3 York Place, Haggeston West, Shoreditch, Middlesex. This was six years after John Douglass began managing the Standard Theatre. That year, the Douglass household included: John Douglass (37, Comedian), Jane (35), Isabella (12), John (8), Richard (6), Henry (3), Alice (1/2), Two servants.
A decade later the 1861 Census listed the Douglass Household at Castle Villa, Dalston House,Hackney, Middlesex . By now, Richard’s older brother John Thomas Douglass (Jr.) was listed as a dramatic author, with 16-yrs.-old Richard Douglass still listed as a Scholar. Other Members in the John Douglass (Sr.) household included: John (47), Jane (45), Isabella Caroline (22, organist), John Thomas (18, dramatic author), Samuel R. (16, scholar), Henry C. (13, scholar), Alice C. (11, scholar), Frederick J. (9, scholar), Arthur D. (4), Agnes M. (2), Samuel (father, 81), Emily Bayles (niece, 16), and two servants.
By the age of 20, Richard Douglass’s scenic art was making news. Here are just a few articles from 1865:
On Oct. 1, 1865, The Era reported, “New and Beautiful scenery by Mr. Richard C. Douglass” for INGOMAR and THE BRIDAL at the “New Great National Standard Theatre, Shoreditch” (page 8).
On Oct. 15, 1865, The Era announced, r New Scenery by M. Richard Douglass” for OTELLO and MERCHANT OF VENICE. “ (page 8).
On Oct. 22, 1865, The Era reported, “New and Extensive Scenery by Mr. Richard Douglass” for production HENRY THE FOURTH. (p. 8)
Both Richard and his father were mentioned in an article about this same production on Nov 5, 1865, Reynold’s Newspaper: “The National Standard. Mr. John Douglass, the spirited proprietor of this theatre, in pursuance of a policy he has carried out for two years, of having one or two stars in the profession as an attraction, engaged for some months this season Mr. Creswick, the well-known tragedian, Mr. Ryder (of the Princess’s and Lyceum Theatre), and Miss Sarah Thorne, a very clever and engaging actress…The new scenery by Mr. Richard Douglass, Mr. J. Neville, Mr. Wellsey, and their assistants, was really beautiful, especially the view of the plain of Shrewsbury and the battle which decided the fate of the insurgents” [Henry the Fourth] (p. 4).
Douglas would continue to work with John Garside Neville (1820-1886) for the next two decades. Neville came from a silk dying background; he was already working in the family business when the census was taken in 1841. By the 1851 census, Neville had transitioned from the silk-dying trade to scenic art. That year he was listed a scenic artist, living in Holywell, Shoreditch, Middlesex. By 1871 census, with his son, Fred Neville, working as an assistant, both living in Haggeston West, St Leonard Shoreditch, London.
On Nov, 5, 1865, Lloyd’s Weekly Newspaper described the scenery for Henry IV, reporting “The new scenery by Mr. Richard Douglass is bold and full of interesting detail – Shrewsbury fight, need it be said, coming in for the greatest honours of scenic building and painting” (p. 8). This scene was also mentioned in The Era on Nov. 5, 1865: “The new and beautiful scenery painted by Mr. Richard Douglass and will include the Palace in London – Gadshill by Moonlight – The Rebel Camp – The Plain of Shrewsbury”
On Dec. 24, 1865, The Era published an article about The Standard Theatre’s pantomime – “Pat-a-cake, Pat-a-cake, Baker’s-man; or Harlequin Bah! Bah! Black Sheep” reporting that “a splendid scene [Causeway of the Pixies]” was painted by Mr. Richard Douglass” (p. 12). The article continued, “A perfect hive of mechanics have been engaged for the production and novel effects of a the Fairy Ballet and Transformation scenes…[the Causeway of the Pixies and Herr Kozenou’s Patent Steam Shaft will be brought into requisition to develop some of the most extraordinary mechanical contrivances ever placed before an English audience…The New Scenery painted by Mr. Douglass, including the Fairy ballet mentioned, and a most truthful representation of a Village Green, with cattle grazing, and live sheep in a sheep-fold” (p. 8).
Douglass was also working with scenic artist John Neville to paint the settings. On Dec. 31, 1865, The Era announced that “The beautiful scenery has been painted by Mr. Richard Douglass and Mr. J. Neville, the first-named of whom has thoroughly excelled in all his previous efforts [great descriptions.”
It was not until December 1865, that we newspaper credit William Telbin (1815-1873) with the training of Richard Douglass. On Dec. 31, 1865, Lloyd’s Weekly Newspaper reported “The scenery, by Mr. Richard Douglass, who has been a pupil under Mr. Telbin, is very beautiful, and much of it is in the celebrated artist’s best style (p. 7).
Descriptions of Douglass’ scene painting flooded newspapers by the late-1860s. Telbin and Douglass continued to work together, with Telbin painting a new act-drop and Douglass painting the stock scenery for the Standard Theatre after the venue was destroyed by fire on Oct. 28, 1866.
The New National Standard Theatre reopened in December 1867, after its foundation stone was laid on July 4 of that same year.
An illustration of the new theatre was published in The Builder on Dec. 28, 1867 (p. 940).
On Dec 28, 1867, The Builder published described the new venue in an article entitled, “The National Standard Theatre, Shoreditch” (p. 28). The article reported, “The National Standard Theatre was burnt down in October of last year, and for some time the site has remained unoccupied. In July 1867, however, the first stone of a new theatre was laid; and last week the building was opened to the public. It is large and lofty, and we now give a view of the interior, produced under some difficulties. The ground upon which the old Standard stood has been considerably enlarged for the new theatre by a purchase adjoining property. The site was originally that of the old Curtain Theatre, one of the most ancient playhouses in the metropolis. This theatre is mentioned as early as 1578, in a sermon at St. Paul’s Cross. Ben Johnson exhibited is abilities here as both an actor and an author. Upon this ground, Mr. Douglass has erected his new theatre. The main building is 167 ft. in length and 90 ft. wide. The height of the interior, from pit floor to the top of the dome is 84 fts. Within this space four tiers of boxes and a gallery are constructed, each one receding from the other, the lowest circle being 54 ft. in width, the highest on 66ft. There are no columns visible in front of the house. The first tier is a balcony of cushioned arm chairs, covered in crimson velvet. Behind is a circle of comfortable little private boxes, fitted and lighted in a convenient manner. The shape of the interior of the building is a horse-show. The theatre is to be lighted by a massive crystal sunlight, by Messrs. Defries & Sons. All the staircases are of stone. The gallery staircase and the two at the side of the proscenium are carried the whole height of the building. From the main entrance in Shoreditch a double flight of stone steps conducts a spacious lobby, where they break off to communicate in separate flights with the several tiers. This lobby is surmounted by a dome, rising 40 ft. The box saloon is large. An iron bridge spans the room, forming the main entrance to the third tier of boxes. Above the saloon and running nearly the whole length of the front building, is a spacious room, which will make a concert of billiard room, There are ninety private boxes in the theatre. The decorations re mostly of papier mâché, coloured and gilt. The stage at the proscenium is 44 ft. wide, and from the footlights to the back wall is 70 ft., and to the front of the first horse-shoe 66 ft. To the barrel-loft the height is 94 ft., hence the greater part of the stage working will be in the flies, the scenery consisting chiefly of cloths. The act-drop has been painted by William Telbin. It is partly shown in the view. The curtain is composed of crimson silk velvet, arranged in folds, and embellished with golden fringe. We may take another opportunity to speak of the merits or demerits of this new place of public resort when we have seen it filled with persons” (p. 942).
During the planning and construction of the New National Standard Theatre, John Douglass managed the City Theatre of London (later St, James Theatre), 35-36 Bishopsgate Street, Norton Folgate.
Richard Douglass was also credited with new scenery for the City Pantomime “Ding Dong, Bell, Pussy’s in the Well,” under the management of his father (The Era 6 Jan 1867 p. 8). On Jan. 27, 1867, The Era reported, “The new scenery by Richard Douglass, Including the Transformation Scene (the theme of universal admiration, representing Ding, Dong, Glade, comprising Thirteen distinct Changes, and terminating with a splendid Tableaux” (p. 8). On Feb. 3, 1867, The Era published that the Grand Transformation Scene, by Richard Douglass, was “nightly greeted with tremendous bursts of applause” (p. 8).
Douglass was continually heralded for his landscapes and woodland scenes; it was his specialty. In fact, there was almost too much information in online newspaper collections to process. Each year, there were a couple hundred mentions of Richard Douglass’ scenic work, and search results continued to increase throughout the 1870s. For example, there were 456 matches by 1879 and by 1883, there were well over 600; these were all for the correct person. Douglass’s name consistently advertised as a scenic artist and was repeatedly listed as a manager and scenic artist at a few theatres. He was a prolific scenic artist and theatre manager.
Douglass’s scenic art was described in detail throughout 1868. On Jan. 19, 1868, p. 11, The Era described the Christmas spectacle at the Standard Theatre, Oranges and Lemons, Said the Bells of St. Clement’s: or Harlequin and the Good Fairy of the New Year. “…the exquisite sylvan scene, called the Golden Stem Valley, was one of surpassing loveliness, and that it, and the view of a Pass in the Kingdom of Riches, had been most artistically executed by Mr. Richard Douglass, who designed and painted them. Now that circumstances are more favorable for observation, we can, with greater readiness, recognize the truthful perspective, clear outlines, and rich colouring which are conspicuous in them. In the superb Transformation Scene of the Dripping Well, or Dewdrops at Evening, there is also now greater fulness and brilliancy. The lovely living tenants of the vast aquarium, and the whole glittering embellishments of the scene, look superlatively resplendent. Some of the hues are particularly pretty, and the effect produced by them are akin to magical. The acting in the piece is equal in excellence to the mounting of it.” (p. 11).
Douglass became known for his spectacular stage scenes at the Standard Theatre that included Alphine waterfalls and train wrecks. On May 17, 1868, The Era reported on the audience’s reception of this thrilling scene in Danger, reporting, “The Wreck Scene nightly redemanded, and receives a perfect ovation” (p. 8). In addition to working at the Standard, Douglass also became associated with the Egyptian Theatre. On Nov. 1, 1868, The Era announced that Mr. Richard Douglass also delivered scenery for the Egyptian Hall, Piccadilly.
In 1870, Douglass started a new chapter in both his professional and personal life. He began to place a series of advertisements in The Era. Over the next three decades, his name would constantly appear in newspapers, listing his services and theatrical associations. In 1870, an advertisement placed in The Era stated:
“To Theatrical Managers and Others. Mr. Richard Douglass, Scenic Artist, having at his command a Large Painting Room, and every facility for Scene Painting, is prepared to arrange for Large or Small Contracts on reasonable terms. Address, New National Standard Theatre, Bishopsgate” (p. 1)
That same year, he also married his first wife, Marie Armstrong (1848-1871). The couple was married on May 10, 1870, at Holy Trinity, Newington. On June 12, 1870, The Era announced, “Marriage – On May 30th, at Holy Trinity Church, Southwark, by Rev. Daniel A. Moullin., S. Richard Douglass (the well-known scenic artist, the second son of John Douglass, Esq., Proprietor of the National Standard Theatre), to Marie, eldest daughter of William Armstrong, Esq. No cards.”
The 1871 Census listed the young couple living at 1 Graham Terrace in West Hackney. The household included Richard (26), Mary (29) and a servant. On Oct. 7, 1871, The Graphic: An Illustrated Weekly Newspaper announced the arrival of their first child – “Douglass.- On the 28th ult., at 3, Graham Terrace, Dalston, N. E., the wife of Mr. Richard Douglass, of a son” (p. 22). Marie died the next day. Ernest “Leslie” Law Goodwin was baptized on Jan. 28, 1872.
During this same time, Douglass was completing scenery for the Christmas pantomime, Aladdin. On Jan. 7, 1872, The Era reported, “Always celebrated for its pantomimes, has never produced one so elaborately mounted as Aladdin, which will manifestly be held in high favour by the eastern region for the next two months to come. The scenery painted by Mr. Richard Douglass, an artist in the most foremost rank, is extremely good, and the mechanical effects are more novel and ingenious than usual. Vast as is the capacity of this extensive building, room is not always found for the large concourse of persons eagerly crowding round the various avenues to get a chance of beholding the diversified Recreation Grounds of the Emperor, the brilliant “Revels of Celestial Slaves of the Lamp,” and that marvel of the mechanism the Ascent of the Flying Palace.” (p. 10).
He was also delivering scenery for touring shows, working alongside other well-known London artists, including Charles Fox and Fred Hall. On March 13, 1872, the North Mail, Newcastle Daily Chronicle (Newcastle-upon-Tyne) advertised the production of Coriolanus with “New scenery by Mr. Charles Fox, Mr. Richard Douglass, and Mr. F. Hall” (p. 1).
In addition to placing newspaper advertisements for his painting services, also began listing scenery for sale. On 16 Nov. 1873, The Era published, “For Sale, Fit-Up, suitable for a Travelling Entertainment. Magnificent Proscenium, Side Scenes (with doors), Back Roller Scene (to match), Painted by Richard Douglass, Standard Theatre, London. For price, apply to M. B., 3 Northfield-terrace, Cheltenham.”
This practice continued throughout the duration of his career. I have become quite fascinated with his advertisements, as they are so consistent and numerous in The Era. Here are a few of his advertisements from 1878-1888:
On March 12, 1878, The Era published, “To Amateur Theatrical Clubs and Others. For Sale (New), Several Drop Scenes, with Batons and Rollers. For price and subjects, apply to Richard Douglass, Painting Room, National Standard Theatre, Bishopsgate. Estimates given for complete sets of Amateur Scenery, Prosceniums, &c.” (p. 19).
On August 11, 1878, The Era announced, “For sale, several drop scenes, with roller, &c., quite new. Suitable for halls, amateur clubs, or small theatres. Size, 17 ft. wide, 14 ft. high. Also, a New Act-Drop. Apply to Richard Douglass, Painting Room, National Standard Theatre, Bishopsgate” (p. 15).
On June 18, 1881, The Era published, “For sale, several drop scenes (new), 16 ft. by 14 ft. Also, an Act Drop. Apply, Richard Douglass, Painting Room, National Standard Theatre, Bishopsgate, London” (p. 23).
In January 1882, The Era, published, “Painting Rooms, National Standard Theatre
Mr. Richard Douglass, Scenic Artist Is prepared to Accept contracts (Large or Small) upon reasonable terms. Information and Estimates requisite for Stocking New Theatres. Scenery for Amateur Performances kept in stock or painted to order. Panoramas, complete or separate views, &c. Address as above” (p. 7).
On Feb 10, 1883, The Era advertised, “FOR SALE, a New ACT-DROP, size 20ft. wide, 17 ft., 10 in. long, capable of being reduced, or even enlarged, without injury to the subject. To be sold reasonable, owning to a mistake made in giving measurement. Address, Richard Douglass, Painting Room, National Standard Theatre, London” (p. 21).
On Feb 23, 1884, The Era advertised, “For Sale, Several Drop Scenes, size 16 ft, 6 in. wide, 14 ft. high; also an Act Drop, all new. Address Richard Douglass, Painting Room, National Standard Theatre” (p. 26).
On July 26, 1884, The Era published, “National Standard Theatre. Richard Douglass (Scenic Artist) is prepared to accept Contracts, large or small, upon reasonable terms. Estimates requisite for stocking new Theatres. Scenery for Amateur Performances kept in stock or painted to order. Panoramas, complete or separate views, &c. Address as above” (p. 20).
In Jan. 1885, The Era published, “For Sale, small act drop, 20 ft. wide 17 ft. high; also some stock cloths, 16 ft. 6 in. by 14 ft. 6 in. All new. Address Richard Douglass, Painting Room. National Standard Theatre, Bishopsgate” (p. 24).
On March 7, 1885, The Era published, “For Sale, a Small Act-Drop, 20 ft. wide by 17ft. high. Also, some Stock Cloths, 16 ft. 6 in. by 14 ft. 6 in. All new. Address, Richard Douglass, Painting Room, National Standard Theatre, Bishopsgate” (p. 21).
On March 27, 1886, The Era announced, “For Sale, Several New Cloths, various subjects. Two sizes, 26 ft. wide by 21 ft. high. 17 ft. wide by 15 ft. high. Very reasonable. Also, a Small Act-Drop. Apply Richard Douglass, Painting Room, Standard Theatre, Bishopsgate, London” (p. 20).
On Jan. 16, 1886, The Era published, “For sale. Two cloths. 26 ft., Wide, 21 ft. high. Subjects – An Old French Street, a woody Landscape. These were painted for Mrs. Langtry on Tour, but afterwards not required. Also, several smaller cloths, 16 ft. 6 in. wide, 14 ft. 6 in. high. Subjects – Various. Address, Richard Douglass, Painting Room, Standard Theatre, Bishopsgate” (p. 20).
On Oct. 29, 1887, The Era published, “For Sale, several cloths, all perfectly new. Sizes, 26 ft. by 21 ft. by 18 ft. and 17 ft. by 15 ft. Drawing-rooms, Oak Chambers, Street, Gardens, &c. Address, Richard Douglass, Painting Room, Standard Theatre, Bishopsgate” (p. 22).
On May 19, 1888, The Era published, “For Sale. – Several Cloths (New), various sizes, 26ft. by 21ft., 21ft. by 18ft., 17ft. by 14ft. Drawing rooms, Landscapes, Gardens. Apply Richard Douglass, Painting Rooms, Standard Theatre, Bishopsgate.” (p. 21).
Back to the story…
In 1874, Douglass delivered new scenery to St. James Hall after the space was renovated. [The Era 8 Feb 1874, p. 9]. The announcement came shortly after his father, John Douglass Sr. passed on Jan. 31, 1874. That fall, Richard Douglass married his second wife, Laurina Campland Brook (1853-1940), the daughter of William and Emily Brook of Kennington, Surrey. Brook was an actress who later went by the stage name of Stella Brereton. The couple was married on Oct. 28, 1874. At the time, she was living with her parents in Kennington, Surrey. Her father worked for a Commercial Newspaper agency.
1874 certainly had its share of challenges. Despite the joy of getting married, Douglass immediately was faced with a series of challenges. He and his older brother, John T. Douglass began to manage the Standard Theatre. The transition must not have been an easy one, as they were immediately faced with a court case. On Dec. 13. 1874, The Observer published hearings from the Court of Queen’s Bench. The case, “Shore v. Douglass and Another. – Accident at the Standard Theatre” was described in detail. An actor was suing to recover damages for personal injuries received from a fall, citing the cause to be the alleged mismanagement of a part of machinery at the Standard Theatre, Shoreditch (p. 5). The plaintiff was a comedian with the Adelphi Company, playing the character Heery Cavanaugh in the “Peep o’ Day.” His foot caught on a projecting piece of wood (piece of profile tree near a platform) during an action scene causing him to fall about twelve feet and suffer a head injury. The issue was that the tree profile had been brought with the Adelphi company, and there had been no issue several times during rehearsals. The ruling supported that the accident did not arise in the manner stated by the plaintiff.
That fall, Douglass was also completing scenery for the Standard Theatre’s Christmas pantomime, Harlequin Robinson Crusoe and His Man Friday. On Dec. 20, 1874, Lloyd’s Weekly Newspaper published about the production, describing all of the scenic elements, especially the grand transformation scene. The article reported, “From Storm to Sunshine, includes five distinct mechanical changes. The whole of the scenery has been painted by Mr. Richard Douglass, Mr. J. Neville Goodram [sic.], and assistants; and the pantomime is written, invented, and produced by Mr. John Douglass, author of the pantomimes for the past ten years.” It was further described in The Standard on Dec. 28, 1874: “It is giving no small amount of praise to the scenery to say that throughout it is equal to anything which the masterly hand of Mr. Richard Douglas has hitherto produced, but especially worthy of commendation are the moving panorama of the journey to the island itself and the transformation scene, which is called “From Storm to Sunshine.” In “The Mystic Isle,” a ballet scene immediately preceding the transformation, is introduced a variety of admirably executed tableaux, in which a pleasing and somewhat remarkable effect is produced by the sudden ignition of gas upon the starts upon the helmets of the dancers as they move about the stage” (p. 3).
The Douglass brothers were starting a new chapter at the Standard Theatre, and in the summer of 1875 renovated the theatre. When the theatre reopened on July 31, a newspaper article in The Era announced, “They claim to possess the largest and most elegant Theatre in the world, and those who do not take a peep within the walls of the Standard will not be in a hurry to dispute that claim. The house was reopened on the 31st ult.”On August 8, 1875, The Era reported, “THE STANDARD. During the brief recess the magnificent auditorium of this deservedly-popular East-end establishment has undergone a process of renovation and redecoration which reflects high credit upon the liberality and taste of those entrusted with the management… The decorations which have been executed from designs by Mr. Richard Douglass and under his superintendence, are chiefly in white and gold, with rich crimson upholstery….A new and pretty act-drop, also from the pencil of Mr. R. Douglass, completes a coup d’œil truly effective, reminding us forcefully of Covent Garden theatre. The lighting of the theatre is, as ever, brilliant, the massive chandelier forming a fine centerpiece to the handsome hemispherical ceiling…”
The article elaborated that the new act-drop was “painted by Mr. Richard Douglass, with figures by Mr. D. H. Friston, and was “a highly artistic work.” The stage had also been widened and newly furnished throughout.
Douglass continued to work at the Standard and place advertisements in The Era. On Jul 2, 1876, Douglass advertised, “Comedy, Drama, and Travelling Companies, Summer Season. For Hire, on moderate terms, a completely new handsome Fit-Up by Mr. Richard Douglass, Standard Theatre; substantial framework, practical Chambers, Cloths, Act-Drop, Proscenium, Wings, Borders, Gasfittings, &c. Measures 17 feet deep. Proscenium opening 17 by 14 feet. Apply to W. P., 8 Lordship-park, Stoke Newington, N.”
This advertisement was placed after the birth of their first child. Walter Campland Brook Douglass was born on April 19, 1876. Their joy did not last, as Walter passed away shortly after his first birthday, on May 15, 1877. The couple welcomed another child into the world the next year. Bertie Richard CamplandDouglass arrived in July 1878.
In 1879, Richard and and his brother John T. Douglass also became associated with The Park Theatre, Camden-Tow as lessees and managers. On March 9, 1879, The Era reported, “THE PARK. Messrs. John and Richard Douglass evidently do not intend to let the grass grow under their feet, and the enterprise and energy they have displayed during their short occupation of the Park Theatre promises to be rewarded as it deserves to be. The manner in which Mr. Boucicault’s popular drama After Dark has been placed upon the stage at the Park does infinite credit to the management…We have already referred to the excellent and complete manner in which the piece is produced, and we may here mention that they scenery we have commended is the work of Messrs. Richard Douglass and John Neville” (p. 12).
Newspapers were listing “Mr. Richard Douglass, Esq.” as an eminent artist, really heralding his spectacle and transformation scenes. Douglass delivered scenery for the Christmas Pantomime, Beauty and the Beast Royal, at the Park Theatre, Camden-Town. The Grand Pantomime. Beauty and the Beast with “Scenery by Mr. Richard Douglass. His settings included a Grand Transformation Scene.” At the same time, Douglass also painted scenery for the Christmas Pantomime at the Standard. On Dec. 28, 1879, The Era described the Blue Beard Re-Wived at the Standard. The article announced, “Splendid Spectacles. Gorgeous scenery by Mr. Richard Douglass…Grand spectacle, “The Haunted Blue Chamber,” and Transformation Scene, a Coral Reef.”
Douglass also continued to place advertisements for a variety of scenery. On April 8, 1880, The Era 8 Apr 1880, “For Sale, a very handsome drawing-room set scene, consisting of Five pieces, all practicable, Size 16 ft. High , 7 ft. wide. Folding doors, side doors, window, Fire-place, &c. Perfectly new. To be sold through mistake in measurement. Address, Richard Douglass, Painting-room, National Standard Theatre, Bishopsgate
This scenery may have been intended for the Warrior-Square Concert Rooms in Hastings. An image of the building was published in Hastings and St. Leonards-on-Sea as a Health and Pleasure Resort : with Statistics and Local Information (1884).
On June 27, 1880, The Era reported, “Hastings. Warrior-Square Concert Hall…This splendid Hall, which is now fitted with very handsome proscenium and scenery (painted by Mr. Richard Douglass, of Standard and Park Theatres)…” (p. 8). On July 4, 1880, The Era elaborated, “Hastings. – St. Leonard’s-On-Sea.- Warrior-Square Rooms. (Under the Management of Mr. Henry Trenham). The Grand Hall is capable of seating upwards of 1,500 persons. Stage fitted with New Scenery, by Richard Douglass. “One of the finest and most conveniently arranged Halls in the Kingdom; possessed of every accommodation, and admirably adapted for entertainments of every description.” – Observer. “One of the best arranged buildings for performances of any kind out of London.” – Times.
By the end of the year, Richard Douglass’s wife was also making news. On Dec. 25, 1880, Stella Brereton was featured on the front page of The Illustrated Sporting and Dramatic News.
Here is a photograph of Stella Brereton, taken by William Henry Gilbert Tate. It is part of the V&A Guy Little Theatrical Photograph Collection.
Her likeness was also captured twice by Joseph Mordecai in 1883, he painted her in the role of Ophelia. I believe that this painting is now held at the Finnish National Gallery (https://www.kansallisgalleria.fi/en/object/520950 ).
The painting was included in two later exhibitions: “Women’s Exhibition 1900, Earl’s Court, London” and “Exhibition of Jewish Art and Antiquities” (Whitechapel Art Gallery, 1906).
Mordecai’s Ophelia was again mentioned in 1885. On May 30, 1885, The Era included an article, entitled “The Drama at the Academy”, article reported, “In the seventh room (644) will be found a three-quarter length portrait of Miss Stella Brereton (Mrs. Richard Douglass), by Mr. Joseph Mordecai, whose picture of the same lady as Ophelia appeared at the Academy of two years ago. The present portrait is not well hung; well enough, however, to show some clever painting of a yellow satin robe and a mantle lined with mouse-coloured fur, as well as the excellent flesh-tints of the face and arms.”
On Feb. 21, 1881, Richard’s mother, Jane Isabelle Goodwin Douglass, passed away in Hackney. Despite their loss, the careers of both Richard Douglass and Stella Brereton were soragin.
One of Douglass’s scenic art projects in 1881 was the act-drop for the Surrey Theatre . That year, George Conquest took over managemen of the venue, staging melodramas and pantomimes, many written by himself. Douglass’s act-drop depicted a view of Richmond from the Thames.
On Aug 6, 1881, The Daily Telegraph reported, “SURREY THEATRE. – TO-NIGHT.- First week under the management of George Conquest and Paul Merritt. Theatre entirely redecorated. New Act Drop by Richard Douglass. Popular prices” (p. 4). On Aug. 6, 1881, The Era added “a new act-drop, painted by Mr. Richard Douglass, who has chosen Richmond-bridge for his scene, and has a brilliant representation of that favorite resort, the bridge, the distant villas, and the woods of the fine park being shown reflected on the glittering bosom of the Thames” (p. 8). What I find interesting, is that in 1881, the Surrey Theatre had a scenic artist – J. J. Keith. He even placed in The Era, located just about those of Richard Douglass. On June 18, 1881, he placed an advertisement near Richard Douglass’s. It stated: “Scenic Artist, Mr. J. J. Keith, of Royal Surrey Theatre, late of Theatre Royal, Drury-lane, Lyceum, Continental Theatres, Dioramas, &c., as Principal, Stock, or Contract. 1 & 2, Camberwell New-road, London, S. E.” (p. 23). This indicates the quality of Douglass’ work, as act-drop projects were highly valued by scenic artists as the most priced type of work.
He also painted scenery for the pantomime production The Babes in the Woods. On Dec. 9, 1881, The Leicester Journal, and Midland Countries General Advertiser included an ad for the production with “Special scenery, painted expressly for this production (including Grand Moving Panorama of well-known Local Views), by Mr. Richard Douglass, of the National Standard Theatre, London” (p. 5).
The 1881 Census listed Richard Douglass’s home at 9 Park Village East, Regents Park, St. Pancras, London. His household included Richard (36, Theatrical manager), Laurina (26, actress), Ernest L. G. (9), Bertie C. (2), Ann C. Waldie (69, visitor), Emily A. Brookes (44, visitor, embroiderer), and a servant.
Despite Douglass’s good fortune, extensive name-recognition, and constant stream of projects, tragedy struck – again – when The Park Theatre was totally destroyed by fire on Sept. 11, 1881 (p. 7). The last show in the venue was the National Grand Opera Company’s production of La Sonnambula. The fire stated in a dis-used box on the dress-circle tier, shortly after the departure of John Douglass. On Sept. 11. Lloyd’s Weekly Newspaper announced, “Mr. John Douglass only left the theatre, in company of Mr. Johnson, the Manager, two or three minutes before the outbreak was discovered….The house now destroyed was opened on the 31st of May 1873, as the Royal Alexandra theatre, Mr. Thorpe Pede being the manager. It has passed through a chequered career, and it is certain that no fortunes were made under any management.” (p. 7)
On Dec. 1-, 1881, The Bulletin reported, “Fifty-seven principal theatres in different parts of the world have been destroyed by fire this year” (p. 7)
Fortunately, Douglass’s Painting rooms were still located at the Standard Theatre, so he remained unaffected in scenic production. At the beginning of 1883 Douglass was credited with new scenery at St. James Hall when the theatre was renovated (The Morning Post 2 Jan 1883 p. 1). That spring, he and his wife purchased subscriptions for The Silver King, supporting the “oldest working actor and dramatic author” in London, J. B. Johnstone (The Era April 7, 1883, p. 7).
Other projects of note in the 1880s included:
On June 5, 1885, The Western Morning News included an ad for “The Green Bushes” at Theatre Royal, Plymouth. “New scenery painted by Mr. Richard Douglass, Standard Theatre London, and Mr. G. Twedell” (p. 4).
After Dark at The Standard (The Era, May 22, 1886, p. 14) – “What is done at the Standard is always done well, and it is not, therefore, at all necessary to insist upon the facts that the drama has been staged with excellent scenery from the brush of that clever artist Mr. Richard Douglass, and that the greatest care has been taken in order to make the sensation part of the business as effective as possible…”
Jack and the Beanstalk at the Standard Theatre (The Era, Dec. 31, 1886) – “The principal effects are – The Village of Content, changing from Winter to Summer, by Richard Douglass, the Palace of the Moon, the Carwine Rocks and Burning Geysers, changing to the ice-bound Regions; Grand Transformation of Jack’s Dreams of Fairy Land, painted by J. Soames, G. Blake, and assistants” (p. 4).
The Royal Mail at the Standard Theatre (The Sunday People Aug. 21, 1887) – “In the stage arrangements and the painting of the scenery, Mr. John and Mr. Richard Douglass have excelled all their previous efforts. Needless to record that they were called to the curtain three times during the progress of the play, or that when the curtain fell.”
In 1887, Richard Douglass was painting scenery for The Grand Theatre, Islington.
On Oct. 8, 1887, The Era mentioned Douglass in “Theatrical Gossip” section – “A remarkable example of how much more effective on the stage scene painting, when artistically done, is than the carpenter’s work is given by the boats on the shore in the first act of Our Joan at the Grand Theatre, Islington. By the exercise of his art, Mr. Richard Douglass has given to these profile accessories that the appearance of roundness and solidness which is the object often attempted in vain, to be attained by “building up” and stage joinery” (p. 8)
On Nov 3, 1888, The Era reported, “The act-drop for the New Grand Theatre, Islington, which is fast approaching completion, is being painted by Mr. Richard Douglass. The subject is a classical composition representing the mythological story of “Diana and Actæon.” Mr. Douglas has also painted two scenes for the pantomime at the Pavilion Theatre, and is fitting for dramatic performances the New Victoria Hall at Kettering” (p. 9).
Douglass began to branch out, accepting work at an increasing number of theaters, such as the Prince of Wales Theatre in Birmingham. For the 1889 production of Master and Man, the scenery was credited to Douglass, C. R. Durant and W. T. Hemsley. Newspapers reported, “It would be unfair to dismiss this successful production without a word of hearty praise for the pretty and artistic scenery that has been provided by Messrs. Richard Douglas, C. R. Durant, and W. T. Hemsley.”
Douglass also worked with Fred Storey to deliver new scenery for “La Prima Donna” (Sunday Dispatch 13 Oct 1889 p. 8).
Douglass abruptly terminated his career at the Standard. On April 20, 1889, The Era reported, “Mr. Richard Douglass, after a connection of twenty years as scenic artist with the Standard Theatre, has retired from that post, but will still continue to carry out contracts for scene painting generally. Mr. Douglass’s many remarkable achievements in his profession, including the well-known stage pictures of “Rotten Row” in Glad Tidings, the “Crystal Palace” in The Ruling Passion, “Epsom Downs” in Daybreak, and the celebrated “Henley” scene in The Dark Secret, are sufficient proofs of his remarkable artistic ability to secure for him all the commission he wants, if not even more than he can execute” (p. 16).
On April 27, 1889, Douglass placed the following ad: “Painting Rooms, 19 Tottenham-Street, Tottenham-Court-Road. Mr. Richard Douglass. Scenic Artist, having retired from the Scene Painting at the Standard Theatre, is prepared to accept contracts upon reasonable terms. Estimates for Stocking New Theatres, Halls, &c. Address, as above.” (p. 3).
Douglass also liquidated some of his assets that were stored at the Standard Theatre that spring. On May 4, 1889, The Era published, “For sale, Several small cloths. Size, 21 ft by 16 ft. Quite new. Also set of Four Drapery Wings and Four tree Wings, 12th, by 4 ft. Suitable for Small Halls, Amateur Clubs, &c. Address Richard Douglass, Painting Room, Standard Theatre, Bishopsgate” (p. 21).
That summer, Douglass painted a new act drop for the newly -renovated Colchester Theatre. On Aug 17, 1889, The Era reported, “New scenery and a new act-drop are being painted by Mr. Richard Douglass” (p. 7). It was Frank Matcham who drew the plans for the extensive alterations.
However, by the fall of 1889, Douglass’s career took a sharp turn. He began to perform on the stage, as well as paint scenery. On Nov. 24,1889, Lloyd’s Weekly Newspaper announced, “Mr. Richard H. Douglass, so long connected with the Standard theatre, has been engaged to play the Old Man of the Sea in the pantomime of Sinbad, at the Grand Theatre, Glasgow” (p 5). Douglass also painted the moving panorama of Sinbad’s Voyage. Advertisements credited four scenic artists – “Scenery by Julian Hicks, Bruce Smith, Richard Douglass, and Harry Mapleson”[The Era 7 Dec 1889 p. 24]. Amazingly, the entire show was listed for sale that spring. Advertisements were placed in The Era [April 12, 1890, p. 21].
In some instances, Douglass was listed as a scenic artist associated with “the Avenue Theatre and Standard Theatre, London” [The Era 21 Dec 1889 p. 18]. Douglass’s association with the Avenue Theatre included stage setting for an opera Harlequinade entitled, The Belles of the Village by Hugh Foster.
On Dec. 22, 1889, The Observer reported, “new scenery by Richard Douglass” for “Harlequinade” at the Avenue Theatre (p. 2).
In addition to painting and performing, Douglass began authored several stories. On Dec. 28, 1889, The Newcastle Weekly Courant published “The Clown’s Story: Told in the Prompter’s Box” by Richard H. Douglass (p. 6). I am not including the article in its entirety due to length. The story tells of the love between a father and daughter, both who were victims in a tragic theatre fire at “King’s Theatre, Brownpool.” The blaze was started by an arsonist who sought revenge. Although the father rescued his daughter, suspended in a wire above the stage (awaiting her entrance). Both became separated until each woke up in the hospital. Believing her father dead, the young girl lost her senses and couldn’t recognize her father when he discovered her in the hospital room. She died in his arms, not recognizing him at all. Although the father still performed as a clown, on the anniversary of her father’s death he could not go on.”
A few years later, Douglass wrote an entertaining story from the perspective of a theatre cat. On Nov. 4, 1892, The Era reported, “Amongst the original articles is an amusing autobiography of a theatrical cat, written by Mr. Richard Douglass. The theatre cat is a sacred animal, and the reminiscences of this particular animal are very entertaining” (p. 15). I have yet to locate a copy of this publication.
On January 19, 1890, Lloyd’s Weekly Newspaper announced. “Mr. Richard H. Douglass, who is now playing with great success in the pantomime of Sinbad at the Grand Theatre, Glasgow, has arranged to go on a short tour with his original humorous and musical entertainment, commencing in the West of England about the middle of February. Engagements have also been accepted for several London Halls.” (p. 5). Some of the venues were in Ramsgate, Godstone, Crawley, Portsmouth, Cowes, Edmonton, Dartmouth, Theatre Royal, Torquay; Theatre Royal, Shrewsbury; Ostend (Belgium); Chelsea Town Hall (The Daily Telegraph March 1, 1890, p. 1); reviews included Westminster and Pimlico News on Mar 1, 1890, p. 2)- “Mr. Richard H. Douglass received an extraordinary and lengthy ovation on re-appearing at the Pastime, displaying wondrous versatility in his original “Illustrated Lecture – London,” and following satirical burlesque “Dickson’s Show.” This gentleman should be seen and heard, as description fails to convoy a due sense of his powers of humour. He is announced to appear again this evening.”
Westminster and Pimlico News on Mar 8, 1890, p. 3: “The indescribable favourite, Mr. Richard Douglass, kept the audience in roars of laughter, by his first performance of a new original “scientific lecture, “The Galvenised Battery,” the ingredients of which was compounded evidently being derived from sleepless observation of public instances, whose mimic representation produced convulsive recognition. His second sketch, “Imitations,” being equally successful.”
By the spring of 1890, Douglass was performing his own act throughout the country. On April 5, 1890, the Chelsea News reported, “Mr. Richard H. Douglass cannot be reported or aptly described, how for well-nigh half-an-hour in his “Geographical Lecture,” and quarter of an hour with his humorous sketch, “Black v. White,” he kept his audience in convulsive laughter, may be best comprehended by going this evening to the Pastime to hear the original “Pantomime Selections” and “Conjuring Extraordinary” – he is truly a marvelous genius. Mr. Harriot is to be commended for bringing him forward after the scourge of influenza, when ordinary remedies are inefficacious” (p. 2). I have to wonder, it the influenza pandemic provided openings for relatively unknown performers, such as Douglass, to fill the slots previously frequented by well-known names. It was at this time, that
Richard began using his middle initial – “H”; going by the stage name of Richard H. Douglass.
He consistently placed ads as a comedian, burlesque actor, and character actor, while maintain a scenic studio. But his painting work soon took a backseat to his performance career. He was now listing his studio address as 19 Tottenham Street. On April 12, 1890, The Era published a want-ad by Douglass that advertised “Wanted to Sell, Several Cloths (New). Various subjects. Suitable for Stock, 12 ft. by 17ft. Address Richard Douglas, 19 Tottenham-street, W. C.” However, work had slowed down enough that there was no need to maintain a full-time assistant. In fact, Douglass’s scenic art assistant sought other employment that summer. On Aug. 9, 1890, The Era published, “Wanted, by Young Man (late pupil of Mr. Richard Douglass, London), Engagement as Assistant in Painting-room or any other capacity, Theatre or Music Hall. First-class references. Address, M. 77, Liverpool-rd., Lo
Douglas sporadically painted scenery for the next few years. In 1891 for The Double Marriage (Harold B. Nelson Co.), A Yorkshire Lass at the (Queen’s Theatre, London), Warwick Gray’s Black Diamonds, and an Act-drop for the Aquarium.
Between April and June 1891, Douglass moved his painting rooms from 19 Tottenham-Street, Tottenham-Court-Road, to a space next to the Grand Theatre, Islington.
His painting rooms were next to the theatre (unlabeled space in illustration below), hence his advertisements and makers marks stating “Next Grand Theatre.”
On June 27, 1891, The Era published, “Wanted, to Sell, Several Cloths (New), 21ft. by 17ft. Various subjects. All Six Wings, 12ft by 4ft. Apply, Richard Douglass Painting Rooms, next Grand Theatre, Islington” (p. 19).
On March 12, 1892, Douglass’s ad appeared just about W. T. Hemsley’s in The Era. It was the passing of a torch. Douglass’s ad stated: “Painting Rooms, next to Grand Theatre, Islington. Mr. Richard Douglass, Scenic Artist, is prepared to accept Contracts on very reasonable terms. Estimates free. Apply as above.” Below, Hemsley’s ad stated: “Mr. W. T. Hemsley, Scenic Artist, has removed to his New Painting Rooms and Scene Manufactory (the Largest and Best Appointed in London), 2 Felix-street, Westminster-bridge-road, S. E. Large or Small Contracts Arranged upon the most reasonable terms consistent with the best Artistic Work” (p. 2)
Douglass continued to perform at a variety of venues, even in the Newcastle Theatre Royal pantomime as Little Toddlekins in Bo-Peep. He also appeared in The Trumpet Call at the Adelphi [The Pall Mall Gazette 22 Feb 1892 p. 1]. He made an even bigger splash doing a series of impersonations. On Sept. 17, 1892, The Era reported that Douglass was performing his skit at the Royalty Theatre, Empire Theatre and Trocadero (p. 27).
On Feb. 11, 1893, The Era reported, “In consequence of the success of Mr. Richard H. Douglass in the pantomime at Theatre Royal, Newcastle-on-Tyne, he has been re-engaged (for the third time) by Messrs. Hoard and Wyndham, and will appear next Christmas at Royal Lyceum, Edinburgh. He has also signed with Mr. Thomas W, Charles for Prince’s Theatre, Manchester, pantomime, 1894-95. Mr. Douglass returns to London halls on Easter Monday” (p. 17). On May 20, 1893, The Era reported thatMr. Richard Douglass’s “Pantomime” and “Melodrama in Ten Minutes” were “well-known to audiences in the metropolis” (p. 17). His performance career was being managed by Blackmore’s Agency, at 11 , Garrick-street, W. C. Advertisements placed by Douglass in newspapers also listed his agent. On Feb. 10, 1894, The Era published, “Mr. Richard H. Douglass, Royal Lyceum Theatre, Edinburgh, Blackmores Agency, 11, Garrick-street, W. C.” (p. 27). In 1894, hew performed at the at Empire Place [Feb 24, 1894, The Era, p. 27]; Scotia Variety Theatre, Glasgow [The Era 10 March 1894 p 27.] to name a few.
All the while, he continued to sell off his scenic stock and paint. Scenic art projects in 1894 included the scenery for an Uncle Tom’s Cabin production by the Moore and Burgess minstrels. Douglass moved his studio again in 1894, now advertising: “Painting Rooms, next Grand Theatre, Islington. Mr. Richard Douglass, Scenic Artist, (is prepared to accept Contracts on very reasonable terms). Estimates free. Apply as Above” [The Era 29 Aug 1891 p. 2].
On April 20, 1895, The Era reported, “Mr. Richard Douglass opens shortly at the Palace in an original monologue, The Rehearsal. He has also been engaged for a leading part in next year’s pantomime at the Grand, Islington, by Mr. Charles Wilmot” (p. 16). He was also portraying a series of cultural stereotype, including Chinese Laundrymen. On Dec. 27, 1895, The Daily Telegraph described mentioned the performance of Richard H. Douglass in the role of the Chinese Laundryman, Wishee-Washee, reporting, “This comical little gentleman has a rare frolic with the folk who patronize his establishment.” (p. 3).
On July 20, 1895, The Era mentioned Douglass’ scenery for The Honour of the House, a five-act drama by H. H. Lewis, produced at Theatre Royal, Nottingham. “The scenery, which has all been specially designed by Mr. Richard Douglass, is truly magnificent. In act one, a view of the wine merchant’s yard, with distinct out-look on old London, is shown that is extraordinarily realistic – queer nooks and quaint bits of a bygone time that would delight an antiquary. The scene of the wine vaults, too, is remarkably picturesque, adorned as it is with fungus and cobwebs that make you almost scent the rich vintages hidden away amongst them. But excelling all is the view of the Pyrenees. The stage is one large waste of mountains – wild, barren, sterile – and here occurs a clever mechanical change. From absolute still life everything alters to masses of snow and ice, until it culminates in a veritable tornado, quite realistic in its intensity. Altogether the mounting is noble and picturesque in the highest degree.”
On Nov. 2, 1895, The Era credited Douglass with a new act-drop and scenery for the new Ladbroke Hall, Notting-hill. The venue was recently renovated, with an increased stage and raised grid iron. On Jan 18, 1896, The Era announced Douglass was painting special scenery at Collin’s. Others providing scenery were Fritz Wallis and son who were painting at the Middlesex (p. 17).
And this was a turning point, as Douglass listed his paint rooms next to the Grand Theatre in Islington “To Let.”
On Feb. 22, 1896, The Era published, “Wanted, to Let, Storage for Scenery, Large and Dry. Apply, Richard Douglass, Painting Rooms, next Grand Theatre, Islington, N.” (p. 27).
On July 25, 1896, The Era published, “Wanted, to Let, Storage, Large and Dry. Apply, Richard Douglass, Painting Rooms, next Grand Theatre, Islington” (p. 21).
Douglass was not having much luck letting out his space. On Oct. 24, 1896, The Era published, “Wanted, to Let, Storage for Scenery. Large and Dry. Apply, Richard Douglass, next, Grand Theatre, Islington” (p. 28).
In the meanwhile, he continued to paint scenery. On August 22, 1896, The Era listed that new scenery for The Indian Mutiny was traveling with new scenery “painted from photographs by Nicholas Hinchey, Lionel Hart, and Richard Douglass, and the picture of the Ruined Mosque on the Mountain Pass, with its warm glow and cleverly suggested architectural detail, may be picked out as one of the remarkable examples of stage brush work” (p. 9).
Side note: The line, “painted from photographs by Nicholas Hinchey, Lionel Hart, and Richard Douglass” involves the subject of my next post – Hinchey. He also is also one of the artists who painted scenery to Normansfield Theatre.
Douglass also delivered scenery for Mr. N. Brigata’s Company production of En Route (The Era 19 Sep 1896 p. 5). At the end of the year, he was painting with E. Butts on the pantomime Cinderella, or Harlequin the Street Little Lass with her Trilbys of Glass and Pretty Prince Caramel at the Grand in London (The Standard 28 Dec 1896 p. 2). He also delivered scenery for Little Cinderella at Theatre Royal, Handley. On Jan. 2, 1897, The Era reported, “The scenery painted by Edwin Watts and Richard Douglass (p. 22) Douglass was also painting with Arthur Hillier that year.
An advertisement appeared in The Era on Jan. 23, 1897, that surprised me and supports the re-sale value of well-painted scenery. I have seen plenty of ads that listed stock scenery or touring show scenery for sale, but never while the show was still running. Such was the case with The Forty Thieves. The advertisement stated, “To Managers, Borough Theatre and Opera House, Stratford. FOR SALE, the whole of the Magnificent scenery (by Richard Douglass, W. T. Hemsley, Esq., &c.), Armour (by White, Bond-street), and costly dresses, all designed and made for this marvelously successful Pantomime (splendid transformation scene, by W. Hillyard) “The Forty Thieves.” Can be seen any Evening during the show. Apply to W. H. Fredericks” (p. 28).
I want to take a moment to address Douglass’ reliance on The Era and other newspapers throughout the region. He was an avid reader, submitting corrections when necessary, such as his letter to the editor in 1897. On June 5, 1897, The Era published a correction, submitted to the editor by Richard Douglass:
“Richard Douglass’s Picture, To the Editor of the Era. Sir, – In your report of the Victorian Era Exhibition this week, you have given a very generous and eulogistic notice, to my picture of “Windsor Castle from the Brocas,” but you have not mentioned my name as the artist. Mr. Kiralfy, in his official guide to the Exhibition, has given my name in a special paragraph speaking of the picture. Yours truly, Richard Douglass (late of Standard Theatre). 9 Park-village East, Gloucester-gate, N. W. May 29th, 1897” (p. 11).
It is understandable that Douglass was miffed with the omission. However, this letter combined with a life-time of advertisements made me step back and look at the big picture of Douglass’ relationship with newspapers. Douglass was an extremely prolific scenic artist and performer. In fact, this may be one of the most well-publicized scenic artists who I have researched to date. There is a great possibility that he also compiled a scrapbook. I would be curious to know where his personal artifacts are now. If they survived and have been passed down to his descendants. So much of his work was described in newspaper reviews, articles, and want-ads.
In the last few years of the 19th century, Douglass was still credited with numerous stock stage settings, including the stock scenery for the New Palace of Varieties in Dover and the Granville Theatre of Varieties (the new Music Hall at Walham-green). Productions included scenery for: Dick Dottiby’s Dream at Queen’s Hall as part of the Pyrotechnic Popular Entertainments; Henry IV at the Prince’s Theatre in Manchester (he was painting with Conrad Tritschler, the scenic artist at the venue); Louis Calvert’s touring production, Proof; John F. Sheridan’s touring production, When the Lamps are Lighted; Faust and Margaret by Brian Daly and C. W. Somerset, produced at the Royal Opera House, Leicester; A King of Fools produced at Grand Theatre, Islington; Keighley Entertainment Company’s Gipsy Jack at the Mechanics’ Institute; and the Christmas pantomime, Ali Baba and the Forty Thieves at the Empire Theatre Pantomime, Bristol (he was painting with J. Cox, the scenic artist at the venue).
And then the flood of public acknowledgements slowed to a trickle. It was about the same time that Douglass’ wife, Stella Brereton, also began placing advertisements and sharing her studio classes in several newspapers. On June 11, 1898, The Era announced, “Miss Stella Brereton (Mrs. Richard Douglass) had an “At Home” on Saturday last, at which some of her pupils recited (Miss Walker, Miss Maude Tibbitt, Miss Lillias Wilson, Miss Ella Challis, Mars. Spaldin)” (p. 12). She had transitioned from performing to teaching and was traveling throughout the region. On Nov 18, 1898, The Nottinghamshire Guardian advertised an upcoming visit by Brereton to teach “Elocution and Deportment” classes (p. 14). She was listed as “Miss Stella Brereton, of the St. James, Drury-lane and Garrick Theatres.” The 1901 Census would also list her occupation as a “teacher” and “school educator.”
The Douglass household in 1901 also included Richard (55, Picture Restorer), and their two adult sons: Ernest (29, insurance agent) and Bertie (22, electrical engineer). Despite the new occupation listed for Richard, he was still performing and painting. His travels as a “comedian and entertainer” were described in newspapers across the country.
On May 17, 1903. The Sunday Dispatch listed Douglass in the “People of the Day” section. The section, titled “Painted the Noted Scene at Earl’s Court” reported, “Mr. Richard Douglass, the well-known scenic artist, whose great picture of “Warwick Castle” in the grounds of the Earl’s Court Exhibition this season has created so much admiration, is one of the two brothers who some years back ran the Standard Theatre with sensational drama and sensational scenes. Mr. Douglass has now painted the large pictures annually shown in the Western Gardens of the Exhibition at Earl’s Court for some ten years past. Visitors will remember this artist’s previous pictures of “Windsor Castle,” “Richmond Hill,” “Balmoral Castle” &c. This year’s view of “Warwick” is considered by competent judges to be the finest of the series. Mr. Douglass has also another picture in the Western Garden, “Bothwell Castle,” on the Clyde; this also is a fine piece of colouring and effective work” (p. 9).
Douglass was also involved with the Scenic Artists’ Association. On Oct. 30, 1904, The Sunday People reported, “The Scenic Artists’ Association, under the presidentship of Mr. Hawes Craven (for so many years associated with the Lyceum production), and the vice-presidentship of Mr. Joseph Harker, has elected a council of Management for the present year Messrs. Walter Hann (chairman and treasurer), E. G. Banks, J. J. Markwell Davis, Richard Douglass, W. Hartford, W. T. Hemsley, H. W. Owen, W. Raphael, H. W. Robinson, W. B. Strong and George Twedell, with Mr. Stafford Hall, of Liverpool, as provincial representative. This committee are considering a proposal for the holding next month of the first their annual exhibitions of the works of scene painter – past and present – and scenic artist. Theatrical managers and others willing to lend models, sketches of scenes, portraits of scene painters, are invited to communicate with the secretary of the association, Mr. H. Lawrence Harris, 5 Robert-st., Adelphi-terrace, W. C.”
By 1905, Douglass’ name began to disappear from the news, often solely attached to his wife’s advertisements – “Stella Brereton (Mrs. Richard Douglass).” By 1908, Stella began to list herself as Stella Brereton Douglass. On June 4, 1908, The Daily Telegraph included the following advertisement, “Mrs. Stella Brereton Douglass, Professor of Elocution, Deportment and Acting. Patrons, Mrs. Kendall and Sir Theodore Marting, K. C. B. Amateur Theatrical stage-managed, and At Home. – 84, New Bond-street, W.”
Richard Douglass passed away three years later. On July 22, 1911, Douglass died at his son’s home (Ernest L. G. Douglass). That year, the 1911 Census listed the Douglass household in Finchley, as including: Leslie Douglass (head, 39), Margaret Douglass (wife 37), and Richard Douglass (father, 66).
Douglass died without much fanfare. No tributes were published in the news by fellow tradesmen or theatre personalities. I have located only one death notice. On July 25, 1911, The Daily Telegraph announced, “Deaths. Douglass. – On the 22nd inst., at 36, Fortis-green-road, East Finchley, Samuel Richard Douglass, aged 67.”
To be continued…
