Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.
Saturday was our last big day to
lower scenery from the attic at the Tabor Opera House in Leadville, Colorado. It
was the sixth of seven workdays in a row. We did manage to hit our goal of
lowering all remaining shutter scenes, plus a few other pieces, to the stage
floor. The attic looks positively bare. Only eight borders remain for me to
document today. That being said, some scenic pieces still remain in the loft
above the attic and on platforms high above stage right and stage left. Documenting
the final shutters, wings and borders will have to wait until next time. The amount and the scope of the scenery at
the Tabor Opera House is staggering.
Two rocky pass shutters pieced together on the stage of the Tabor Opera House after spending a century in the attic. The shutters were painted by Frank Cox in 1888.The backside of the rocky pass shutters. This scene was also painted by Frank Cox in 1888.Two shutters forming a European street scene. The Tabor Opera House in Leadville, Colorado.Two horizon shutters and three wings. There are five remaining wings, but all have been cut down; one is missing.
The biggest surprise this week was
discovering a marked piece of scenery from the Tabor Grand Opera in Denver. This
was Tabor’s second theater. There are some interior set pieces and borders obviously
created for another, and much larger.
There are also a few pieces from touring productions that never left the
Tabor during the nineteenth century. It will be fun to track down more
information in the upcoming weeks.
The majority of the work this week
was completed by volunteers without any background in theater. Their careers
varied from nursing and teaching to law and public service. Some were born in
Leadville and others not; all were passionate about the project.
Volunteer crew on day 6 at the Tabor Opera House in Leadville, Colorado.Painted border, likely created for another venue due to size. This border matches the palace interior setting that we assembled earlier this week.
Painted scenery produced for the
stage a century ago continues to have a
broad appeal to the general public. Well painted scenes still cause people to gasp,
as did much of the scenery at the Tabor Opera House. It is just magical.
Painted detail from the rocky pass shutters. Note the seam between the to shutters.
For the next few weeks, I will continue
to post images from this week’s documentation, focusing on individual scenes
and painting techniques. More tonight.
I feel wonderfully exhausted after
today’s activities. There have been too many long days spent at the theatre,
and too many short nights spent at home deciphering the day’s information.
I was asked tonight by Colorado
Public tonight what it felt like to uncover scenic treasures at the Tabor Opera
House in Leadville Colorado. It took me
a minute to respond, as “magical” is too simple a response; the experience is much
more than that for me.
Removing the layers of dust from an historic
stage setting is like stepping back in time and embracing old friends. Seldom
am I overwhelmed with emotion when a scene is lowered to the stage. In most cases,
it is like the comfort of a warm banket on a cold day. Today, I teared when the first two shutters were
joined, creating a rustic country scene. We sat in the audience admiring the painted shutters
by Frank Cox from 1888. It had taken more
than a century for this onstage reunion and we reveled in the moment.
Two shutters by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.Painted detail. A shutter by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.Painted detail. A shutter by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.Painted detail. A shutter by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.Lowering a shutter by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.Lowering a shutter by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.Two cut shutters by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.
Some of us feel we were born into
the wrong era, embracing the aesthetic of another time and place our entire lives;
I am one of those people. Today, I would have given anything to stand in the
wings and help position these freshly painted new shutters into place for the
next scene.
Volunteer crew at the Tabor Opera House, day four of the attic scenery documentation.
There is more scenery at the Tabor
Opera House in Leadville, Colorado than I expected – go figure. In addition to the
attic scenery and that in the attic loft, historic scenery was spotted in two
other locations – the fly gallery and the corresponding stage left platform. This
is on top of that already documented on the stage. I had to check the finds
out.
The first thing that I did this morning was to climb up a wooden ladder to the stage-left platform. This was about twenty-five feet above the stage floor; one of those wooden original wooden ladders that always make me a little nervous.
Top of the ladder near more historic scenery.A side view of a ground row depicting water, stored high above the stage at the Tabor Opera House.Some of the dust encrusted scenery high above stage left.
Yes, there are more treasures up there, including a bridge profile piece, some ground rows depicting water, several platforms and a few crumpled soft goods. I doubt that they will come down this trip. There was also a deteriorated flat on the fly gallery level, once used to block sunlight from a window. It was from the same setting that we set up yesterday; the missing sixth wing. Sever deterioration and faking allowed me to examine the primer and a previous base coat of paint.
We continued to lower attic scenery
to the stage throughout the day, forming neat little piles of flats, divided by
composition. Lowering each piece from the attic door, the scenes were guided by
an individual on the pin rail while a group in hard hats waited below. We are
now all in sync and the process is going beautifully. Regardless, this is a
relatively slow process, and I desperately tried to be in two places at once – both
the attic and stage, while still documenting scenery in various locations. The
surges of adrenaline from each new discovery kept me energized throughout the
day, well into the board meeting this evening.
Preparing to lower a scene from the attic of the Tabor Opera House in Leadville, Colorado.Allie working guidelines as scenery is lowered to the stage from the attic.One more scene successfully lowered to the floor. This is the backside of a jungle wing painted in 1890.Scenery against the upstage wall at the Tabor Opera House in Leadville, Colorado.
The majority of the scenery (once
stored in the attic) has been removed and is patiently awaiting further instructions
on stage. We have saved many of the larger pieces for tomorrow; reducing the number
of smaller pieces that surrounded the largest ones. Despite the camaraderie and
constant stream of adrenaline, it was another physically exhausting day for
all. The entire crew, including myself,
are volunteers. We each have participated in the documentation process because we
believe in the cultural significance of these artifacts. That being said, I am
being hired to create documents containing a historical analyses, condition
reports, replacement appraisals and collections care managements forms.
I ended by day attending a zoom
meeting with the Board of Directors and the architects. It is so wonderful to
meet with such a group of passionate individuals. We all understand that this
is a crucial moment in the future if the Tabor Opera House. We see the
potential in the building and scenery collections; it extends throughout the
area. Even Ziska Childs drove over from Aspen and volunteered today, cleaning
off some dust from flats before they were sent to the stage floor. It was so wonderful to share the beauty of
these painted shutters with a friend and colleague. Similarly, Bruce Bergner from the University
of Colorado, Colorado Springs, has also been on site for two days. It is so
wonderful to work with him on this project. And I cannot forget to mention that
Michael Powers traveled with me from Des Moines, Iowa, to help on site this
week.
Sharing shutter discovery with friend and colleague, Ziska Childs.Cleaning scenery before it is lowered to the stage floor. Note the contrast on the back of the wing.
The most exciting discovery for
every are the shutters. I have been waiting for over two years to see each
shutter on stage with its mate. Of course, the shutters have been waiting even
longer since they were placed into storage over a century ago. Tomorrow, we will commence with the arduous
task of lowering the shutters to the stage floor. The 12’ x 16’ pieces will be
a challenge as they are lowered floor some 40 feet below.
Volunteer crew for day 3 of scenery documentation at the Tabor Opera House in Leadville, CO.
We all experience those tactile moments
that conjure up images from the past, offering an instantaneous connection. It
can be as simple as using your grandmother’s mixing bowl or your grandfather’s
tools. There are so many ways to reconnect and remember times gone by.
Handling historic scenery offers a special connection to the past, especially if the setting has not been assembled for decades. I often wonder if the original creators are patiently waiting in the wings for their scene to appear once again on stage, occasionally stepping in to guide our fumbling hands.
Today, we set up two historic scenes
on the stage of the Tabor Opera House in Leadville, Colorado; ones that had
been stored in the attic for well over a century. Damaged and dusty, we
carefully pieced together two interior sets. I spent a significant amount of
time, both last night and this morning, contemplating how I would “put Humpty
Dumpty back together again.” Some of the of pieces were intended to work with grooves,
effortlessly sliding on an off stage. Others had anchors for stage braces. Some
had no indication as to how they were supported. In the end, it just took time,
muscle and a crew that trusted my gut instincts.
Stage setting stored in the Tabor Opera House attic for more than a century.Doors added to setting, but the appropriate plug for the arch is still missing.The doors and arches were the backside from the first setting. They are double-painted with a composition on each side.The doors and arches were the backside from the first setting. They are double-painted with a composition on each side.
The process was almost as satisfying
as the outcome. It is hard to express my emotions as the stage was transformed
today.
I first laid eyes on a piece from the
setting two years ago. At the time I could
only envision how this would look on stage. Seeing it assembled surpassed all of
my expectations. Although some of the colors are faded and some of the fabric
is torn, there is an insuppressible beauty to the painting. It was absolute magic.
There is a variety of historic
scenery tucked away in the attic at the Tabor Opera House in Leadville,
Colorado. When the building was renovated, the stage was enlarged, and all of
the original wings and shutters were carefully tucked away above the auditorium
ceiling. This attic space was also once home to a few hotel rooms, divided by a
central sky hall that allowed natural light for each room.
Over the decades, the walls dividing
each hotel room were removed and the third floor became home to abandoned artifacts,
including theatre scenery, drop rollers, and much more. By the way, it is quite
a climb to the attic, over 70 steps in all. This climb, combined with an
altitude of 10,000 feet, certainly separates the locals from the flatlanders, like
me.
On the attic wall adjacent to the stage and above the proscenium arch is a loft. Well, not quite a “loft,” as there are no floorboards, just joists. We threw down a few planks to walk on.
Loft in the attic of the Tabor Opera House, Leadville, CO.Loft in the attic of the Tabor Opera House, Leadville, CO.
In this space are some additional wings, rolls, and shutters placed high above. I started my second day in the attic loft. This involved climbing up a wooden ladder with my camera, balancing my way across a few boards, and contorting myself to photograph a few dust-encrusted wings and shutters.
In the meantime, the crew started to
clean and remove some of the wings from the attic wall above the proscenium
arch. Several flats had been cut down and nailed into the wall above the proscenium
arch; no idea why this happened at all. The careful removal of 10’ wings involved
detaching the ladder that led to the loft and grid, as it partially covered one
wing. A team of three then carefully
carried each wing down the winding staircase to the stage.
Ladder to the loft in the attic of the Tabor Opera House, Leadville, CO. Painted wings were cut down and nailed to the wall.Removing the painted wings for documentation purposes at the Tabor Opera House in Leadville, CO.
Meanwhile, plans for the lowering
all other stage scenery commenced in earnest. The majority of pieces range from
5’ x 16’ to 12’ x 16’ – sizes too large to carry down the staircase. These pieces were lowered directly from the
attic by way of about fifteen feet above the pin rail. By the end of the day,
seventeen scenic pieces were lowered with this method. Although there were a
few rough starts, some frightening moments, and a couple panicked cries, each piece
made it safely to the stage floor. By
the end of the day, we established a system, and everything worked like
clockwork.
Lowering one of the scenes from the attic to the stage floor.One of the seventeen scenes lowered to the stage floor tonight.
Tomorrow we will set up two of the
scenes before lowering more. Due to size, we are saving the shutters for last, focusing
on interior sets these first few days. Despite
the hard work, it was a wonderful experience and a fantastic group of people to
work with. My sincere thanks go out to Carl, Mary Ann, Tammy, Greg, Kan, Curt, Michael,
Jane, and Bruce; such an outstanding group of individuals.
The volunteer crew for Day 2 at the Tabor Opera House in Leadville, Colorado.
Today was my first day on site at the Tabor Opera House. I am in town to document the historic scenery collections in the attic; last spring I documented the scenery collections on the stage. This is such a very important collection, in both in the scope of American theatre history and world theatre history.
Some of the volunteers handling historic scenery in the Tabor Opera House attic. Leadville, Colorado.
We spent much of the day cleaning and organizing about 75 pieces; shutters, drops, borders and other set pieces were placed in storage when the Leadville Elks purchased and renovated the stage and auditorium in 1901-1902. New scenery was delivered to the opera house and old scenery carefully tucked away. Much of it is still there, albeit a little worse for wear and covered in a century’s worth of dust.
Some of the scenery piles in the attic of the Tabor Opera House, Leadville Colorado.
I knew what to expect when we climbed steep steps to the third floor today and had my game plan. But there was so, so, so much more scenery than I expected; much more than anyone expected to find today. We uncovered and shifted scenic pieces produced in 1879, 1888, and 1890. This is on top of the 100+ scenic pieces from 1902 currently housed on the Tabor Opera House stage.
Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.One shutter, leaning against an attic wall at the Tabor Opera House, Leadville, Colorado.Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.
By the end of the day, the scenery was divided into piles, organized by setting, and I am starting to compile an inventory. We were also able to clean and lower some pieces to the floor. There were many big surprises; surprises included shipping tags and scenic art signatures.
Signature by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.
It was a delightful, yet exhausting, day for me; one that ended with a Colorado public radio interview. I’ll write much more tomorrow, but too pooped to pen any more now.
I return to my “Travels of a Scenic Artist
and Scholar” storyline today. Tomorrow I leave for Leadville, Colorado, departing
in the wee morning hours and driving to Denver. I am stopping by Des Moines to
pick up Michael Powers, and we will arrive in Leadville, Colorado, on Sunday,
September 20. My week-long project is to document all of the scenery currently stored
in the attic of the Tabor Opera House.
Originally built in 1879, the
building was later purchased by the Leadville Elks and substantially renovated
in 1901-1902. The renovation included enlarging the auditorium and stage. Previously
used roll drops, wings and shutters were replaced with new fly scenery from the
Kansas City Scenic Co. and Sosman & Landis Scene Painting Studio; Sosman
& Landis was subcontracted by the Kansas City Scenic Co. for this project. Much
of the original scenery never left the building it was simply tucked away in
the attic.
In 1879, ten stage settings were delivered to the Tabor Opera House. This was a standard a stock scenery collection at the time. Keep in mind that larger theaters would order as many as 25 to 35 sets. The height of the Tabor Opera Houses’ original grooves purportedly measured 16’-0,” accommodating painted wings and shutters. The height of the original proscenium was listed in theatrical guides, varying from 17’-0” to 20’-0”.
By 1884, “Harry Miner’s American Dramatic Directory” noted there were 12 sets of scenes, increasing the original installation by two sets. This was also common, as new theaters continued to increase their stock over the years, even within the first decade. I have verified that some additional scenery was delivered in 1888, painted by T. Frank Cox on site. There was also a signed piece by Cox on site that has helped verify the dates on a few other pieces.
I first visited the Tabor Opera
House in June 2018, documenting some scenery on the stage and in the attic. My
49th birthday was spent carefully shifting scenery to get a sense of
what was in the attic. At the time, I
knew that this was a really special find, maybe one of the most significant
scenery collections in North America due to its scope. I returned this spring (February 2020) to document
all of the 1902 scenery on the stage. This was the first of two phases to
document all of the scenery on both the stage and in the attic. I have been hired to provide historical
analyses, conditions reports, replacement appraisals and final collections care
programs and management for the Tabor Opera House scenery. These documents will
help guide the future preservation and use of these remarkable artifacts.
In anticipation of this second-phase
project, I also painted historic replicas of some shutter scenes that are
stored in the attic. I referred to my 2018 images for color and some much older
slides (gifted from Ken Kurtz) for composition, creating small 8” x 10” acrylic
paintings. This step was solely to help convey was is currently stored in the Tabor
Opera House attic, hidden under a century’s worth of dust. It is difficult for
board members and the local community to understand these hidden treasures. I
am planning to paint many more scenes
after fully documenting the attic collection.
The interior of the 1879 Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a rocky pass setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a street setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a horizon setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.
My plan is to post scenes at the end
of each day, sharing many on site discoveries.
Keep your fingers crossed that all travel goes well, and we stay
healthy; the N95 masks are already packed!
Garden drop design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota, ca. 1905-1910.
Design by John Z. Wood for the Twin City Scenic Co.
This is part of the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.
Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co.
In 1921 Thomas G. Moses was working in Dallas, Texas, at the
new Majestic Theatre. His wife Ella was able to accompany him on the nine-week southern
trip; there were ample opportunities for sighting seeing and sketching
trips. That spring, Moses wrote, “A
short trip to San Antonio was thoroughly enjoyed by both of us. It was a very interesting place, being so
close to Mexico. It has taken over many
ideas in buildings and costumes. One
place we enjoyed more than the others was the large Brackenridge Park, which
was built in a Stone Quarry. Made
several sketches.”
Japanese Garden in Brackenridge Park, 1921 postcard.
Brackenridge park made headlines that year, as American
newspapers focused on the success of San Antonio’s various beautification
projects and park system. The “Central New Jersey Home News” reported, “How
City Officials Beautified San Antonio by Unique Methods” (New Brunswick, NJ, 22
May 1921, page 11). The article noted, “Once in a thousand years you find a
person who possesses the gift of making much form little or nothing. Sometimes
it is a woman who can make a stylish dress from a piece of great grandmother’s
shawl and a yard of ribbon, in San Antonio it was Ray Lambert who made
Breckenridge [sic.] Park blossom like the rose – the whole rose bush, indeed –
and did it so economically that people still ask – ‘how did he do it?’”
The “Dearborn Independent” also included an article on the
park entitled, “Texan’s Magic Has Brought Beauty to City” (Dearborn, Michigan,
April 16, 1921, page 6). It provided a little more information about the man
behind the mission – J. R. Lambert. Here is an interesting section from the article,
as it gives some history:
“San Antonio was a wide-open town and J. R. Lambert on of
the best known bar keeps. Situated within 150 miles of the Mexican border,
within easy access of vast stretches of plains and prairies where wandered
countless herds of Texas long and shorthorns, San Antonio drew to her bosom the
sons of wild and wild stretches. Here they came to take a chance at faro or the
cards and drink whisky straight. In the midst of this oasis was J. R. Lambert’s
saloon and he stood behind the baar and served the spirit-loving throngs.
“Before he became a barkeep Lambert was a stone mason. He
saved his money and finally accumulated enough cash to buy the saloon. Like
many of his kind in those days Lambert also became interested in politics.
Politics and the saloon were bed-mates before the Eighteenth Amendment went
into effect. His power became felt in local election. He was a man to be
reckoned with in any local issue that was decided at the polls. His saloon grew
more and more prominent as Lambert extended his political power.
“There came a mayoralty campaign in San Antonio. It was a
biter contest and after the votes were counted Lambert’s candidate was a
declared the winner. And then Lambert, who had exacted no political reward
before, demanded one, He insisted on being appointed commissioner of parks and
plazas of the city of San Antonio. Since the mayor was morally bound to give
Lambert any political appointment he demanded, because of his services at the
polls, he had to comply. This he did reluctantly. There was much protesting,
much agitation, much denouncing. Giving a job like commissioner of parks and
plazas to a saloonkeeper was preposterous. Much in the way of political graft
had probably been attempted in San Antonio, but this was too bold, too brazen,
too horrid. The public wrath grew, the flame of public indignation swelled and
the mayo was denounced along with Lambert. But the mayor was firm and Lambert
kept his peace. The tumult subsided as such tumults always do. Lambert sold his
saloon and settled himself in a downstairs corner of the city hall and went to
work.
“Today J. Raymond Lambert, or Ray Lambert, is the biggest
man, as far as could be learned in one month’s time, in San Antonio. Forty-six
parks and plazas within the city limits testify to his greatness. In the opinion
of the writer he is the most efficient city official in the country today.
Lambert has been commissioner of parks and plazas of San
Antonio for a number of years and he will probably be able to continue as
commissioner just as long as he cares to. During all this time he has worked
within his power, regardless of time, energy, personal hardships and
self-denials and to save as much money for the public as possible. In both he
has been brilliantly successful.
San Antonio has her Missions and her Alamo, ‘the cradle of
Texas liberty.’ San Antonio has her old churches, a wonderful country club and
beautiful residential sections, but if you ask the average San Antonian what
point he considers of most importance and interest he will answer immediately,
‘Brackenridge Park. Have you seen the Japanese Gardens there?”
“Brackenridge Park is the palace ground of San Antonio’s 46
parks and plazas , and the sunken Japanese Garden the palace. Of the 592 acres
that are included in park and plaza allotments, Brackenridge Park is big and
complete, a remarkable city playground, but the Japanese Gardens lift it to
fame and the history of the gardens shows the creative genius of Lambert.
When Lambert became commissioner of parks and plazas,
Brackenridge Park was little more than a larger tract of waste land. It had few
possibilities. Many landscape gardeners would have passed it up. Some of the
experts said it would never do as a park. It contained an abandoned stone
quarry and a garbage incinerating plant, also abandoned. It presented a dismal
aspect. Not only was a large portion an eyesore, but most repulsive.
“Lambert gathered his laborers and got busy. He dismantled
the garbage plant and tore it down. He saved every part of it, stone and all.
After everything was piled up neatly, he sent his army of laborers into the
stone quarry and hauled out al the loose stone that remained. The quarry
cleared, he began building and after much hard work the Japanese Gardens were
created and the disgusting eyesore became a thing of unparalleled beauty in way
of landscape gardening.
In this garden are Japanese houses built of stone, lily
ponds and flower beds, rustic Japanese bridges and tropical foliage. There are
fishponds and shaded nooks. Stone steps wind down into the gardens and the
gardens are spotted with the same kind of steps and benches.
“The stone house, the large one, was built of the loose
stones picked up in the quarry. They also served for the steps and the benches.
“The stones, now fast, line the lily ponds, and the quaint
fishponds with their rare goldfish were made from the dilapidated vats found in
the incinerating plant. The roof of the bog house is made of thatched palm
leaves. There are many palm trees in San Antonio. You find them in all the
parks and plazas. Lambert had his men collect then and, instead of destroying
them, they were hauled to the Japanese Garden where they served for roofing. It
is said that the only expense of the garden, outside of labor, was for wire
used in attaching the palm fronds. And the quaint-looking steeple at one edge
of the garden, the one covered with vines and looking so artistic in the
distance? Why, that was the chimney of the incinerating plant, the only part of
the plant that Lambert left standing when he dismantled the building. At night
the gardens are lighted with thousands of globes and to view this spot from a
place that was once the edge of the
stone quarry, gives a sight that will be long remembered.”
There is a fantastic paper by Susanna R. Katz and Anna A.
Fox -“Archeological and Historical
Assessment of Brackenridge Park, San Antonio, Texas” (1979). The two identified
15 prehistoric site s and 27 historic sites and features within the boundaries
of Brackenridge Park. They noted the sites reflect a variety of activities
which have been carried out over a period of several thousand years; here is
the link: (http://www.car.utsa.edu/CARResearch/Publications/ASRFiles/1-100/ASR%20No.%2033.pdf)
Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. of Minneapolis, Minnesota.
Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.
This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries. The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections
