Drypigment.net

Part 556: Julian Greer’s Return to the Studio in 1906

In 1906, Thomas G. Moses wrote, “Julian Greer, one of the old paint boys, now an actor, author and manager, visited us for the first time in many years.”

Julian Greer was born in London, England during 1870 and passed away in 1928 at the age of 58. He was a well-known actor, artist and war correspondent. Greer’s life appears to have been shadowed by a series of scandals. His first marriage was to the leading lady of Dillon’s Company, Ida F. Solee in 1891. At the time, Greer was associated with the Frohman company (Los Angeles Ties, 23 June 1891, page 3). In 1896, newspapers reported on his relationship Mrs. William Frederick Holcomb. Wife of an aged physician, she was served papers in a suit for absolute divorce, naming the co-respondent “Julian Greer, an artist” (Washington Republican, Washington, Kansas, 24 June 1896, page 7).

Greer and Mrs. Humphreys ran away to Europe together. However, by that fall, he was advertising in the London “Era” – “Wanted, juvenile Lady, to look Sixteen; Juvenile light comedian, two young Lady dancers, for minuet. Address, with photo and exact age and height, Julian Greer, 264, Vauxhall-bridge-road” (London, England, 10 Oct. 1896, page 25)

Less than a decade later, Greer was back in America and playing in the production, “The Tie That Binds” by Hal Reid. Advertisements promised, “unlike most melo-dramas, does not depend entirely upon its sensational effects, there being a beautiful story of heart interest running throughout the entire four acts. In addition to many other sterling qualities embodied in the play, Mr. Julian Greer has added a number of high class specialties and gotten together and exceptional strong company of players, making the attraction particularly enticing” (The Morning Call, 8, Feb. 1906, page 4).

Greer was also in the touring production of “Man’s Enemy.” The “Omaha Daily Bee” reported, “For three nights, starting Thursday, Mr. Julian Greer will offer ‘Man’s Enemy,” a big melodramatic production to the patrons of the Krug theater. The play deals with the evils of drink, but contains a very pretty heart story running throughout” (Omaha Daily Bee, 18 March 1906, page 27). The show was billed as “a combination of romantic comedy and tragedy.”

He was also planning another project, one that likely bought him to the Sosman & Landis studio looking for a scenic artist. The “Albuquerque Citizen” reported, “New York Productions for Casino -Summer Theatre to open May 15 with company of sixteen people in cast – on Way from New York now.”

Greer was visiting Albuquerque, New Mexico, to visit his brother, Col W. H. Greer, who was president of the Albuquerque Traction Company. Greer was considering the Traction Park Casino as a venue for his show. The newspaper commented that Greer was an actor and painter from New York City Greer (Albuquerque, New Mexico, 7 March 1906, page 5). The remainder of the article is quite interesting.

“Julian Greer is here for the purpose of getting the colonel to accompany him to Omaha, Neb. Where he expected to show his performance of the theatrical company that will open the Traction Park Casino on May 15. The company was organized in New York, of excellent talent, and is now working west, playing at the most important cities en route. The troupe is expected to reach Omaha by the time the colonel and Mr. Julian Greer reach that place by leaving here tonight, which will probably be on Saturday. In speaking of the company and the people who compose it, Mr. Julian Greer said: ‘Nestor Lennon, one of the best known actors of the American stage, and the man who succeeded Nat Goodwin successfully in ‘When We Were Twenty-one;’ Virginia Anderson, only 17, but a woman of charming personality, Maud Adams’ beauty and art, a coming star, is our leading lady. And she is certainly a wonderful young woman. There are many strong characters and specialty people among the sixteen persons, and I am not exaggerating when I say that it is one of the strongest troupes on the road. I am taking the colonel back to Omaha to witness the performance of the company.’”

“‘Oh yes,’ continued Mr. Julian Greer, ‘I expect to return with the company, and we will be here all summer. We hope to reach here in time to open by the middle of May. We carry our own scene painter, a very capable man. Who will furnish scenery for any production we may care to make. Our shows will include the best New York productions, with scenic effects.”

Mr. Julian Greer expressed himself as surprised and pleased with the elegance and adequacy of the Traction Park Casino. He said that it would be a compliment to a city of 100,000.”

However, there must have been a change in plans along the way. By April, his brother had turned the entire management of the Traction company over to W. M. Wortman, a manager of amusement parks in Pueblo, Colorado, and El Paso, Texas (Albuquerque Citizen, 7 April, 1906, page 5). That summer, the Casino was be billed as a combination house, playing a diversity of attractions. The Albuquerque Citizen, commented, “the house will probably open May 15, with a large stock company in a repertoire of modern plays, their run will be but a short time, after which they will give way to some other attraction. This plan will be followed out all summer, thus giving a variety of attractions that will relieve the monotony of a stock company for the entire season.” In the end, Wortman proposed to place El Paso, Albuquerque and Las Vegas on a summer vaudeville circuit (Albuquerque Citizen, 2 May 1906, page 8).

Interestingly, Traction Park Casino also hosted number of free attractions that summer, including balloon ascensions, parachute jumps, and a circle swing. Wortman was planning on working closely with Mr. Houston, manager of the local baseball team, assuring, “The base ball sport for the summer will not be neglected.”

To be continued…

Part 555: Streets of Paris at the Chicago Coliseum, 1906

In 1906, Thomas G. Moses wrote, “I had a big job in getting the Streets of Paris ready to open, December 5^th, for ten days.”

“Streets of Paris” was a charity event in Chicago established to aid the Passavant Memorial Hospital. In 1906, it ran from Dec. 5 – 7, open daily from 2pm to11pm. Admission for adults was $1.00 for children were 50 cents. This was slightly expensive price, as White City Amusement part admittance was only ten cents. This event, however, was produced by high society in Chicago and intended for high society in Chicago. It catered to the tastes of the wealthy.

Advertisements reported, “Spectacular Christmas Bazaar and Reproduction of the Champs Elysees and the Rue de la Paix” (Chicago Tribune 8 Dec. 1906, page 16). The boulevards, cafes and shops of Paris were reproduced, including the famous Moulin Rouge.

Gross receipts after the event were reported as $63,870, with a potential profit of $40,000 going for hospital aid (Chicago Tribune, 10 Dec, 1906, page 9). Of the event, Moses noted that the project brought in $8,750.00 for Sosman & Landis, writing it was “some show” and “a big success in every way.”

Streets of Paris was held at the third coliseum built in Chicago, each stood successively from the 1860s to the 1980s. Built in 1899, the third Chicago Coliseum hosted the “Streets of Paris.“ It was located at 15th Street and Wabash Avenue. The complex was built by Charles F. Gunther 1837-1920), a German-American confectioner and collector. His background is quite interesting. Moving from Württemberg Germany to Pennsylvania in 1842 at the age of six, his family eventually settled in in Peru, Illinois. Gunther was an ice distributor until the Civil War broke out. He pledged supported the Confederacy, helping transfer troops during the Civil War. He was captured by Union troops in 1862. Returning to Chicago after the war, Gunther was a traveling salesman for a candy manufacturer, selling goods to the southern states. By 1868, he had started his own candy company, learning his trade from European candy makers and specializing in caramel. He soon amassed a fortune after catering to a very wealthy clientele.

Gunther was also a collector of historical artifacts, many now owned by the Chicago History Museum purchased the bulk of his collection in 1920 for $150,000. The collection included the table on which Robert E. Lee surrendered to the Union at the Appomattox Court House. Gunther had even purchased Abraham Lincoln’s deathbed. As with many museums of the time, not all artifacts were authentic; he claimed to own the “skin of the serpent” from the Garden of Eden.

By 1889, Gunther purchased Libby Prison in Richmond, Virginia, built during the Civil War as a Confederate prison. The structure was dismantled, shipped to Chicago on 132 railroad cars, and rebuilt as the Libby Prison War Museum. This was where Gunther displayed Civil War memorabilia and other historical artifacts. By 1898, incoming profits form the museum were declining, and Gunther took advantage of another situation; fire destroyed the second coliseum. Gunther dismantled the Libby Prison Museum and used the building materials for part of the new Chicago Coliseum. A section of the Chicago Coliseum still remained identifiable as Libby Prison.

The Chicago Coliseum was an enormous venue. The main hall had a capacity for 12,000 people, with the North Hall seating about 4000. The south section of the building included offices and other smaller exhibition halls. Over the decades, the venue hosted many social, political, and charitable events, as well as trade shows, sport shows and circuses. Staged entertainment included musical concerts and high-class vaudeville. The notorious political fundraiser for the two First Ward alderman, the First Ward Ball, was also held in the coliseum. Other events included several Republican National conventions and Progressive Party National Conventions. From 1901 through 1934, the Coliseum was the continuous home to one of the nation’s earliest and most prestigious auto shows. Sosman & Landis provided scenery for many of these events, especially the annual auto shows.

In 1971, the Chicago Coliseum was primarily a general-admission venue for rock concerts. That spring the city shut the building due to fire code violations, and it fell into disuse until it 1982 when it was demolished. Part of the Libby facade was salvaged and given to the Chicago History Museum. The coliseum site is now occupied by the Soka Gakkai USA Culture Center.

To be continued…

 

Last fall I evaluated the Scottish Rite scenery collection in Deadwood, South Dakota. On site findings suggested that the Deadwood Scottish Rite had purchased a new scenery collection from Twin City Scenic Co. around the turn of the century and two used scenery collections after that. The Deadwood Scottish Rite purchased one scenery collections from the Scottish Rite in Joplin, Missouri (1902) and another one from the Scottish Rite in Kansas City, Kansas (1904). There are many drops still waiting to be discovered, rolled up and stored above the stage. There were also a few other pieces added over time, including a set for the Shrine. Twin City Scenic records from the year 1940 also note that the studio did business with the Deadwood Scottish Rite that year too. Interestingly a fly loft and stage were not added to the building until 1961. Prior to that time, the Scottish Rite Masons temporarily hung the scenes, storing them in the basement.

Fast forward to yesterday at Lance Brockman’s house. I was picking up a some files and books. As I started to merge our two records at home last night I made a startling discovery. In his materials, there was a 1927 program for DeMolay. I quickly paged through it before putting on an archival sleeve. Only a few pages into the program, I stopped in shock. I was looking at the same drop that now hangs in Deadwood!

I immediately phoned my South Dakota Scottish Rite contact, Mike Rodman, sharing the exciting news. It was perfect timing. Tonight is the Deadwood Scottish Rite Quasquicentennial celebration. They are celebrating 125 years of building community partners and building Masonic Brothers. Activities start at 4:00 pm today! Rodman is planning to share my discovery tonight at the event.

This backdrop was pictured in the 1927 program alongside the first forty-seven members to join DeMolay. From this youth order started in 1919, it grew to a membership of a quarter of a million young men by 1927.

However, this may not be a drop specifically created for DeMolay. Over the years, many class pictures were taken in front of Scottish Rite or York Rite scenery, wherever the boys met. It is possible that this backdrop was for a Masonic order other than DeMolay. Regardless, we know that the beautifully painted scene came from Kansas City and was hanging in 1919.

To be continued…

Part 554: Black and White Backdrops

In 1906 Thomas G. Moses wrote that he “did some designs for a Park in Pittsburg.” The project was with his old partner Will F. Hamilton. Moses & Hamilton had operated in New York from 1900-1904.

In regard to Moses’ Pittsburg project, he was referring to Luna Park in Pittsburg created by Frederick Ingersoll. Ingersoll of Ingersoll Construction Company constructed Luna Park in Cleveland, Ohio, and then a second park in Pittsburgh, Pennsylvania; no official relation to the famous Luna Park on Coney Island, just the same name. For Pittsburg and Cleveland, Moses created scenery for old mill attractions and scenery for two small stages. The Ingersoll Construction Company got its start by building roller coasters and other amusement park rides. At one time, Ingersoll owned and operated over forty amusement parks in the United States, Berlin and Mexico City.

What is interesting about the Pittsburg Park design, however, is that Moses recorded it being a monochromatic scene. He wrote, “I did them in black and white, rather effective.”

I have encountered only a few mentions of “the black and white art” in the past, stumbling across buts of information while researching scenic artists who worked in early film and photographic backings.

One example was Harley Merry (see past installments #138-142). Merry’s name was actually Ebenezer J. Britton; he used his birth name as an actor. “Harley Merry” was his scenic artist name. Merry was well-known for a variety of skills, including his talent for painting monochromatic backdrops. An article from 1892 noted this skill: “Harley Merry is another master in the same school in perpetuating the English ideas of water-color. Merry is the greatest painter of monochromes and photographic backgrounds in the country” (“Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Dec, 18, 1892, page 41). As an aside, Merry was the first President of the Protective Alliance of Scenic Painters of America, organized in 1895 – he was a major contributor to the industry in New York.

Merry also specialized in spectacles with scenic realism, which made his transition to producing settings for early film a natural shift. He actually partnered with the Edison Manufacturing Company and was involved in creating scenery for many early film productions, including “Parsifal,” a short film was based on the New York Metropolitan’s Opera that ran for approximately one half hour.

An earlier scenic artist known for his black and white art was William Telbin. In 1902, “The Magazine of Art” commented that Telbin was “a master in black and white art.” The article continued, “We desire now to call to attention to a branch of Mr. Telbin’s work which is not generally known to the public, but which, to our mind, is in its way as important and as beautiful as any of his stage productions. With tempera as his medium he has produced a series of black and white drawings which proclaim him a master in black and white art. For brilliancy of execution, for certainty of effect, sparkle of the touch, and beauty of presentation, these drawings are not easily surpassed. Some of them were reproduced in this magazine in two articles on “Scene Painters and their Work,” published in 1889, and others in a paper on “Iceland,” in 1893. Another series of views in the Mediterranean, more of which are to be published later, are admirable representations of the scenes to be witnessed during the season of the “bora” on the Mediterranean shores. They show Mr. Telbin was a careful and accurate student of nature, with an instinctive feeling for the picturesque allied to an inimitable power and facility of presentation and suggestion.” (Magazine of Art, January 1, 1902, page 371-376).

I have only encountered one black and white backdrop; it was at the St. Louis Scottish Rite. A design for the 10^th degree of the Ancient & Accepted Scottish Rite, it was rendered in ivory black and white dry pigment. The backdrop has the same consistent studio labels and marking as the remainder of the collection. At the time of installation, the 1923 scenery has stencils on both stage right and stage left sides of each drop, noting the degree and the line. For example, the Quarry leg drop shows 10 and 59 for 10^th degree on line 59. The backdrop shows 10 and 87 for 10^th degree on line 87. It was not added later, but with the other Toomey & Volland scenery. There was other scenery installed by Volland Studios over the years, in 1945, 1949 and 1954.

The original backdrop design is also monochromatic, and is now part of the Volland Studio collection in the St. Louis Scottish Rite library. The collection was gifted to the St. Louis Scottish Rite Valley by Volland Studio some years back. Although I photographically documented the entire Volland collection during my visit, it will take years to fully process and decipher the information that I gathered there.

Charcoal markings on the backside of the Quarry leg drop note that the size is 25 feet high by 51 feet wide. Additional masking likely accompanied the scene technical specifications provided by the Valley comment that the proscenium opening is 98 feet wide. There are 164 lines, placed on 2-inch centers. We cold not lower many of the lines during my visit due to tags with warning for specific lines and jammed cables. Sadly, the current drop inventory that the Masons reference also has missing information for many lines.

This collection will not last for long and is already a threat to those below. Pipe pockets replaced wooden battens and they are all failing, with many pipes tenuously hanging by shreds of fabric; yes, the stage is rented out for many events. If anyone from the St. Louis area can begin a very detailed documentation of the stage scenery and rigging now is the time. It will take days if not weeks to do. For a stage that boasted to be 4 feet bigger than the Hippodrome stage, this is one that definitely needs to be recorded.

To be continued…

Part 553: The 1906 Eruption of Mount Vesuvius

Yesterday’s post was about the White City Amusement Park near Chicago in 1906. Attractions included “The Last Days of Pompeii” and the “Chicago Fire.” It is important to keep in mind that although these two disasters were not recent, two similar ones had just occurred that year. A devastating fire raged throughout San Francisco after an earthquake, and Mount Vesuvius erupted again. They both occurred during April 1906. Disasters fascinated the public and were quickly incorporated into publications and amusements.

While researching the San Francisco Fire, I was reminded of a gift I received years ago; it was the 1906 book – “The San Francisco Earthquake and Fire Horror, the complete Story of the Greatest American Disasters, Horrors of the Vesuvius Eruption.” Written by Charles Eugene Banks and Opie Read, there was a poignant passage in the preface: “Strike one section of the world a terrible blow and all other sections have their deepest sympathies immediately centered in that spot. It is this fact that keep’s alive man’s belief in the universal brotherhood of the race.” At few paragraphs later, the authors continue, “Following close upon the eruption of Vesuvius on the other side of world the San Francisco disaster found the country busy raising funds for the homeless Neapolitans. The Golden Gate City was involved in this work when of a sudden it became the subject of the world’s bounty.”

There were many from the entertainment community who dipped into their personal funds or performed at benefit concerts to send funds to those recovering from a disaster. Buffalo Bill donated $5000 to the Neapolitan relief effort. After all, he had performed in front of a smoldering Vesuvius while on his 1889 European Tour. But there were many theatre manufacturers who directly benefited from staging spectacles that depicted these devastating events.

The theme of erupting volcanoes became a popular staged spectacle at Scottish Rite theaters after 1906. Instead of Mt. Vesuvius erupting, however, it was a volcano on the isle of Patmos. Patmos (Greek: Πάτμος) is an island in the Aegean Sea, the most well-known of the smaller Dodecanese islands. Patmos was known as the location where a vision was given to the disciple John in the Book of Revelation and where the book was written. The degree production relates to the breaking of the seven seals. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition.

This scene had the potential to be one of the most exciting degree productions on a Masonic stage. Lighting flashed, thunder rumbled, the ground trembled, and a volcano exploded. Classical buildings that were painted on a cut drop toppled as a red plume of lava spewed high in the sky. Then red rivulets streamed down the mountainside, soon spilling into a lake and turning it blood red. This scenic illusion was a new popular design option for the seventeenth degree on many Southern Jurisdiction Scottish Rite stages after 1906.

The first time I staged the action for this setting was in Winona, Minnesota. During the evaluation, volunteers assisted in successfully presenting the collapse of two-dimenional buildings for photographic documentation. The Winona scenery was produced in 1909 by Sosman & Landis. As these drops were sold at auction, it is unlikely that Humpty Dumpty will ever be put back together again. What was really interesting about the Winona Volcano scene was the hardware. Much was formed from cut metal canisters and adapted for a specific task. Very little was pre-manufactured other than the batten holders that secured the bottom of a drop to the stage floor so it would not shift.

Previously, this seventeenth degree composition depicted ancient ruins were a series of visions were revealed to the audience. This remained the case with Northern Masonic Jurisdiction Scottish Rite scenery. It was only degree work in the Southern Jurisdiction that adopted volcanic explosion on Patmos. Sosman & Landis labeled their design either“17^th degree Vision” or simply, “Volcano.”

 

 

To be continued…

Part 552: Thomas G. Moses and Chicago’s White City, 1906

In 1906, Thomas G. Moses recorded that he worked on some scenic shows for “White City.” White City was also known as “White City Amusement Park.” Inspired in part by the World’s Columbian Exposition of 1893, It was named after the white lights that lined many of its buildings. The amusement park’s “Electric Tower” was a steel structure outlined in electric lights that could be seen fifteen miles away.

The park opened on May 26, 1905 and lasted until 1933. The amusement park was on a fourteen-acre former cornfield, located at 63rd Street and South Parkway (Dr. Martin Luther King Jr. Drive), in the Greater Grand Crossing and Woodlawn community areas. Admission was ten cents, and the park was open rain or shine.

Advertisements in Chicago newspapers listed a variety of popular attractions at the park. Even the Goodyear Blimp was first assembled at the park. Moses wrote that he worked on a variety of attractions that included “One big show. A Trip to Mars.” Other park attractions included “Fire and Flames (the Chicago Fire),” “The Johnstown Flood,” “the Canals of Venice [water ride],” “Temple of Palmistry,” “Catacombs,” “The Third Degree,”[?] “Famous Cow and Lunch,”[??] “Infant Incubators,” “Midget City,” “Jewell’s Manikins,” Big Otto’s trained wild animal show, a Gypsy camp, “Hale’s Tours of the World,” “Automatic Vaudeville,” a vaudeville theatre, a roller coaster, small Ferris wheel, flying airships, Lindy Loop, Seaplane, Jim Key, a Japanese Booth, a Japanese ball game, a roller rink, penny arcade, a scenic railway, an electric theater, a model laundry, a the “Fun Factory,” electric cooking exhibit, photograph gallery, the House of a Thousand and One Troubles (fun house), “Figure 8,” “Shoot the Chutes,” “The Kilties” (a Canadian band that played Scottish music), a miniature railway, and “Kellar’s Blue Room.” After the park opened, one ride malfunctioned; a visitor was killed and two others injured. Then the park’s roller coaster encountered problems, injuring another twelve patrons.

During the park’s second summer of operation, the White City Construction Company also secured a plot of land measuring 665×500 feet that adjoined the south end of the amusement park. In this area, an open air amphitheater was erected with a seating capacity of 12,000 (Inter Ocean, 15 June 1906, page 6).

By July 1, 1906, the “Inter Ocean” reported, “The principal new attraction at the park this week will be a big revival of the “Last Days of Pompeii” on a block of ground adjoining the White City. Five hundred gorgeously costumed embryo Roman and Egyptian citizens, gladiators, guards, charioteers, musicians, priests, priestesses, choir boys, Pompeian dignitaries, dancing girls, flower girls, etc. will tonight be put through the paces of a final dress rehearsal for Pain’s big spectacle. The initial performance of a ten week’s engagement will be given in the vast new White City amphitheater tomorrow night, and General Manager H. B. Thearle is positive in his assurances of a smooth and finished opening.

The scenic representation of doomed Pompeii represents the fated city that perished in the first century of the Christian era. The scenery used in this production covers and area of five acres of ground, but so deceptive is the perspective that it is said it appears to spread over many times that space.

The scene opens with a fete day in the ancient city, and for upward an hour the audience is entertained with a production of the sports and feats of the hippodrome, chariot races, ballets, aerial and acrobatic performers, pageants, etc. The tragic dramatic episodes of the spectacle are shown in pantomime. The fetes are interrupted by he terrific eruption of Vesuvius and the destruction of the city by the earthquake, bringing into action all the skill and ingenious of Pain’s artists. Following these scenes, there is presented an exhibition of fireworks. For the accommodation of patrons, a downtown ticket office will be opened at Lyon & Healy’s tomorrow morning and maintained throughout the season” (page 26).

The Daily Herald described, “These fascinating and thrilling midsummer night shows of the famous Pain have for 27 years been the one big night attraction at fashionable Manhattan Beach New York, also for the same length of time at Alexandria Palace, London. The production given at White City, surpasses anything ever seen in the open air amusement line in this country. As known to most readers, Pain’s “Last Days of Pompeii” is a thrilling realistic reenactment of the greatest catastrophe in the world’s history; the awful destruction of an ancient city and its people by earthquakes and volcano eruption…So thrillingly realistic is the effect, that the onlooker will find it hard to realize he has been gazing only upon a startling scene of mimic destruction instead of a terrible reality” (Chicago, 29 June 1906, page 1).

The spectacle was advertised as a “most stupendous, thrilling and beautiful open-air spectacle in the world – a $100,000 production.” The theme surrounding the destruction of this ancient city razed by the eruption of Mt. Vesuvius was especially poignant; the great Volcano erupted again during April of 1906. This disaster occurred the same month as the San Francisco earthquake and fire. For many, it may have seemed like the end of the world.

To be continued…

Part 551: The Phobias of Dry Pigment and Aniline Dye – Third of Three Parts

Over a fairly short period of time, the American scenic artists shifted from using dry colors to pre-mixed paints. Dry pigment and binder were replaced with a relatively expensive pre-mixed product in a can. In addition to the expense, pre-mixed paints had a limited shelf life and color selection. Keep in mind that dry colors can be stored almost indefinitely and used even after they freeze, get wet, or are stored in less than ideal conditions. The longevity of dry pigment is due to the fact that it is stored separately from the binder.

So why did we shift to a more expensive product, especially one with inferior paint colors and a shorter shelf life? Convenience is a big reason.

Selecting to use pre-mixed paints instead of dry pigment and hide glue is similar to deciding on take out in lieu of cooking a meal. When we buy fast food there is no shopping, preparation or clean up involved for that meal – just pull up, pay and drive away. You don’t even have to know how to cook. The same can be said for using pre-mixed paint in a can; no instruction needed, just open and apply. Pre-mixed paint was the great equalizer and removed some of the mystery from the scenic art process. You don’t have to understand how certain dry pigment colors interact with others or worry if the binder is either too weak or too strong.

But there is one factor to consider when we chose convenience. Just like preservatives placed in a variety of pre-made meals, we need to be aware of hidden ingredients in pre-mixed paint. Yesterday I alluded to ever changing paint formulas and additives introduced to the product; not all paint ingredients are safe. With dry pigments, we worried about the possibility of lead, cadmium, arsenic, or other dangerous ingredients in specific colors. However, beyond the concern of using certain colors, the binder was all natural, simply diluted hide glue. As scenic artists, WE controlled every ingredient that we were handling as we mixed our own colors and binders. This is not the case with pre-mixed paint produced by a company.

We also must always remember that paint manufacturers believe we solely handle and apply their product as recommended, and in a traditional manner with a brush, roller or sprayer. As scenic artists we have a variety of non-traditional practices when applying paint to scenery. We push the limits of the product and bend recommended handling procedures to achieve stunning effects. While doing this, we also get covered with paint.

Here is what I have observed thus far. Many scenic artists are much more cavalier with water-based products than their solvent-based counterparts – regardless of any warning. Water-based paints constantly get on our clothes and skin; we wear it like a badge, signifying what we are to the general public and our colleagues. Paint covers our shoes, socks, pants, shirts, sweatshirts and other personal items. Our phones, keys and jewelry all sport little droplets of paint. We spend hours spattering paint, squeezing paint out the bristles, cleaning spray guns, and scrubbing out buckets.

I have seldom encountered “tidy” scenic artists, those who wear street clothes that show no sign of their profession. We look back in wonder at early-twentieth-century photographs that depict scenic artists who painting in suits, showing very little paint spattered on their clothes. Our predecessors were smart to avoid dry pigment and hide glue from getting on their clothes and coming into contact with their skin.

A few years ago, I began wearing everyday clothes while painting. The immediate change in my behavior was astounding. I worked with the water-based paint as if it were solvent-based paint; avoiding contact with my skin or clothes at all costs. This immediate shift in my perception was fascinating. Our overall perception of all water-based paint needs to change. We must acknowledge that there are hidden dangers in pre-mixed paint and we have yet to discover them all.

To be continued…

 

 

 Part 550: The Phobias of Dry Pigment and Aniline Dye – Second of Three Parts

During the first decade of the twentieth century, much traveling scenery was created with aniline dye, allowing drops to be easily folded and packed in a trunk. This process ensured that the painted composition would not crack or dust off during transit and repeated use.

Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors of aniline dye also worked beautifully for certain stage effects, translucencies and stained glass. All you needed to mix it with gum arabic, or a similar binder, and it provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct. For inking in charcoal lines, aniline dye was used with a little bit of shellac. Aniline dye was a wonderful and versatile “go-to” product for painting and staining.

Fast-forward eighty years to the 1980s. Aniline dye was still used in some paint shops, and for more than just translucent effects. The dye was used to brightened paint colors, especially when some pre-mix batches began appearing lackluster and dull. A good dollop of aniline dye dumped into a five-gallon bucket of paint made most drab colors bright and beautiful. But this colorful additive did not necessarily make everyone grab a pair of gloves to prevent the paint from staining their hands, or threatening their health. This was not an anomaly, as the handling of aniline dye was different then; previous generations of scenic artists broke up clumps of aniline dye with their bare hands, not fully understanding the health hazards. We were just starting to acknowledge some dangers in our industry. I doubt that any of these scenic artists were trying to be irresponsible or dangerous to others; they simply didn’t have all of the facts to properly handle the product.

As a parallel topic, there were prolonged debates about cutting Styrofoam with a hot wire. Some of my colleagues insisted it was perfectly safe, while others were adamant that it was an incredibly dangerous process. I then also think about the debates concerning the dangers of smoking and second-hand smoke – dangerous or not? We now know the science. It takes time to identify health concerns and disseminate the information to the general public. It takes time to establish and implement proper safeguards. In many cases, something has to happen for a safety warning to be included on a label – or a warning label to go on a product at all. Whether it is a problem documented during the testing of animals, or problems identified among a group of users, a consensus is reached to prior to adding a warning. For scenic artists there can be a long list of health concerns. Some are extremely hard to diagnose if the majority of users also smoke and are exposed to other airborne toxins.

So lets consider how an industry implements changes in handling procedures or identifies alternative products. Is it simply easier for us to distance ourselves from a controversial product that has been used for decades? How does that compare with trying to raise awareness about how to safely handle this product? These discussions become complicated if some belittle those addressing health concerns. Regardless, we now fully understand the necessary for safety precautions that must be in place when handling aniline dye. Has this information arrived too late? Why are some toxic paints acceptable and others not? Aniline dye is still readily available and actively sought out by woodworkers, leatherworkers and other artisans, just not scenic artists. Why?

It is understandable that we constantly seek safer products, especially in lieu of altering our handling methods for a familiar product. Are the new products really safer, or are we once unaware of the hidden dangers once again?

It takes decades of use and generations of artists to identify certain problems or health hazards associated with a particular product. New products simply can’t enter the market place with every danger being known. One example is the popular alternative to aniline dye – thinned supersaturated paint. This switch seems completely reasonable, and far safer. But what if we are unfamiliar with all of the ingredients and take very little care in the handling of this seemingly safe water-based product?

As an artists I read the safety data sheets (SDS). However, it is difficult to read it more than once, beyond that first time prior to handling a new product. It is difficult to continue examining information on updated SDS prior to every use, especially after our initial investigation; certainly when we have limited time and/or are freelancing where this research occurs on our own dime. Regardless, we must remember that many paint formulas change. Cheaper pigments are discovered or other ingredients are added to increase overall flexibility and shelf life. Changes also occur to a formula based on increasing the profit margin. This practice is not unusual and occurs in many other manufacturing industries. However, as scenic artists, we must look beyond the subtle color shifts in new batches of paint.

We must read, and re-read, every SDS each time we handle the product, even if we have been using this same product for years. We must also remember that even when paint formulas remain consistent, acceptable exposure levels could change; new information may come to light. When was the last time that you looked at an SDS for a product that you have used for over a decade? Look one up online and read it again.

To be continued…

Part 549: The Phobias of Dry Pigment and Aniline Dye – First of Three Parts

This seems to be an appropriate time to discuss both dry pigment and aniline dye. There will be three installments about these products.

In the past, I have tried to avoid this subject. Discussing the use of dry pigment and aniline dye has become a hot button topic for some within the American theatre community, almost as volatile right now as discussing politics. That being said, safety has always been my first priority. I constantly refer to safety data sheets for paint products, taking precautions to protect both others and myself at all times. I take pride in being familiar with traditional and new products, as well the dangers for each.  Over the decades, artists’ palettes have been affected by the ebb and flow of color availability.

I start the dry pigment and the aniline dye debate with my own personal stance: I believe that all paints are dangerous when they become airborne and you inhale the product – whether wet or dry. I cannot think of a single paint product where any manufacturer will tell you that their colors can be safely inhaled or ingested. As an artist, it is my job to carefully research and handle all paint materials that I encounter, as well as training my students in the safest way to handle, mix and apply paints. Yet, many in our industry are quick to point out the dangers of dry pigment and aniline dye, especially focusing on their powder form during the initial stages of mixing. Not all pigments arrived at the studio in dry form. Keep in mind that going from dry to wet is a self-contained step. While mixing the dry pigment paste, one takes the proper safety precautions, such as respirators and gloves. These are the same safety precautions when encountering anything that becomes airborne, such as sanding treated/painted/stained wood, foam, fiberglass and other materials used for theatre scenery. Many artists prepare the surfaces that they will paint, and this even includes the sanding of gesso layers.

There was a shift in our industry about two decades ago; dry pigments and aniline dyes went from being used in university shops to being avoided at all costs. What happened? Dry pigments and aniline dyes are still manufactured and distributed all over the world, used by a variety of artisans for many projects.

We can purchase dry pigment from many local art stores throughout North America, Europe and the United Kingdom; we can even order it online. Keep in mind that dry pigment, aniline dye, and hide glue ship Amazon Prime. There are even aniline dye starter kits with set colors for fine artists to use in the comfort of their own home. Website warnings include, “a respirator mask should be worn so that no pigment dust is inhaled.” Pretty straightforward, isn’t it? Dry pigment no longer arrives by the pound in brown paper bags with only the manufacturer label and color. For some dry pigment containers, labels may include additional information and directions; this is standard procedure for most paints today. It helps companies protect themselves from a client’s ignorance about the product.

Dry pigment is readily available from Gamblin, Sennelier, Cornelissen, Langridge Artists Colours, Dick Blick, Michaels, Grapewoods International, Earth Pigments, Pip Seymour Fine Art Products, Kama Pigments, Newton Art Supplies, and many others. Some dry pigment is still shipped in glass jars due to high lead content of the product. Small amounts of dry pigment, like most other products when sold at retail price in minimal quantities, are very expensive. Huge amounts of dry pigment are still purchased by art supply manufacturers, such as Golden acrylics or Conté Crayons.

Aniline dyes are also purchased and used by both individuals and large companies today. Aniline dye manufacturers include Keda Dye and J. E. Moser’s, just to name a few. Woodworkers and those who stain leather love working with aniline dyes due to their transparency and brilliancy; Gibson guitars are even stained with aniline dyes. Like other paint products that we handle in our profession, aniline is a known toxic substance during the application of the product. It has been linked with causing bladder cancer since the late 1890s. Safety precautions are crucial while handling, the same as with many paints.

Sadly, after continued use by generations of scenic artists, a significant part of our theatrical heritage linked to both dry pigments and dyes has been lost. This shift happened relatively quickly. This is especially unfortunate since we now live in a time where safe handling procedures for all art products are readily available to the users. Many scenic artists are simply unfamiliar with the use of dry pigment and aniline dye because they have been labeled as “dangerous.” This means that many historical scene-painting techniques specifically associated with those products are now veiled in mystery. It is unbelievable that techniques associated with a centuries-old trade could be lost so quickly over the span of just a few decades.

The theater community has simply decided that we no longer use dry pigments and aniline dyes. Ever. Again. They are deemed “unsafe.” Fair enough. But, if they are handled properly, as with any paint product that is out there, they can be enjoyed and the traditions passed along to future generations. Keep in mind that a far worse product readily available to scenic artists in prop shops and paint studios is spray paint. It is extremely dangerous. Yet, we are expected to safely handle this product with proper ventilation in a spray booth. Why did we so quickly turn our backs against dry pigment and aniline dye while continuing to embrace other equally dangerous coatings?

Let’s look as what has been lost due to our inability to believe that professionals can use these products safely. Twentieth-century scenery, like that produced before it, was painted with dry pigment and diluted hide glue. We know that dry pigment and aniline dyes should be mixed in a spray booth while wearing protective clothing, a respirator and chemical gloves. This is not too much to ask, as we constantly handle and mix many other dangerous products. When I handle dry pigment, aniline powder, or any paint for that matter, safety comes first. I control the color, I prepare the environment, and I take precautions to prevent any overspray or contamination to people and other projects nearby. These are the same precautions that should be taken for all paint procedures.

Now let’s think about the danger of other toxic particles floating around scenic artists in a shop. I want to put the “dust danger” of pigment in context for those of us who paint scenery used for theatre, opera, theme parks, industrial shows, and other venues. Although I may always try to take proper safety precautions while handling any type of paint, those around me may not take similar precautions with their own projects. I am not just speaking to my fellow artists, but also the sculptors and carpenters who construct and carve massive set pieces created from wood, foam, steel and other materials. What I have noticed over the years is that I am always at the mercy of those working around me. I can control the potential dangers associated with my own project, but not the projects of others working nearby, especially those cutting or sanding treated lumber, foam, fiber glass, plaster, or other materials. The dust from these products may be extremely dangerous.

We work in an industry where many airborne toxins are prevalent, some of which are never acknowledged or addressed. Even when there are regulations, standard air quality tests are not common practice for every shop, especially during periods of high productivity. So why did dry pigment and aniline dye take the rap a few decades back, becoming the poster children for “shop danger?” There are several factors to consider that I’ll discuss in detail tomorrow.

To be continued…

Part 548: Al Ringling, Thomas G. Moses, and the Big Storm, 1906

In 1906, Thomas G. Moses wrote, “Went to St. Louis in May with new scenery for Ringling Bros. Visited Toomey. Scenery quite successful, excepting canopy. It was done in dye and a big storm came and ruined it. I was ‘called’ good and hard by Al Ringling.”

While attending to the new scenery for Ringlings’ spectacle in St. Louis, Moses visited Patrick J. Toomey, of the Toomey & Volland scenic studio; they were old friends.

It is interesting to consider Al Ringling (53 yrs. old.), yelling at Thomas G. Moses (50 yrs. old). These were two experienced individuals, both distinguished professionals at this point in their respective careers. Having and expensive piece of scenery water damaged had to have been a tense moment, especially with the artist on site for the production. Moses was referring to the scenery that he produced for the Ringling Spectacle “The Field of the Cloth of Gold.” For more information about this production, see past installments 482 and 483.

For the Ringlings’ “The Field of the Cloth of Gold” the show bill advertised, “The Vast Main Tent of the Ringling Brothers World’s Greatest Shows, wherein are presented the Superb Circuses and Hippodrome Displays, is converted into a huge, hundred-fold theatre for the presentation of the gorgeous, brilliant spectacle, the Field of the Cloth of Gold.” Of Moses’ scenic contributions, “The Washington Post” reported “The scenery is massive and brilliantly painted to show the crystal palaces, fairy structures, golden tents, and other flashing and picturesque features of this famous plain, ‘The Field of the Cloth of Gold’” (The Washington Post, 5 May 1905, page 8).

Now, imagine transporting the scenery and setting it up with high winds and rain; even the simplest task could prove deadly. The running of dye would be the least of the Ringlings’ worries. An article in “The Green Bay Press Gazette” reported, “Thousand People Brave Storm to See Circus” (23 Aug. 1906, page 3). They did the show rain or shine. The article described, “Over 1,000 people braved the storm last evening to attend Ringling Bros. circus. The storm was an exceptionally heavy one but did not deter the circus loving people from attending. The reserved seat section was about the only section in the large tent that was filled. The performance was cut short, being all over before 10 o’clock. The show was loaded up and the first section left this city shortly after 12 o’clock over the Northwestern for the Iron Mountain, where it will show today.” The caution to close early was likely a result from a deadly storm the month before.

On June 30, 1906, the front page of “The Moline Daily Dispatch” reported “Panic and Death in a Circus Tent” (Moline, Illinois, 30 June 1906, page 1). A “sudden storm partly wrecks big canvas of the Ringling Brother’s Circus, pitched at Aurora.” Two died as a result of the storm after “swaying quarter-poles mowed down scores among the 10,000 people in attendance.” The article noted, “The band, which had been playing waltz music during the performance of the elephants, changed, under Ringling’s orders, to a ragtime quickstep in the belief that the music would counteract the panic.”

I was curious about the scenic disaster, however, that made Ringling reprimand Moses. The exterior of each tent was coated with a gasoline and paraffin mixture to make it waterproof. Circus tents were supposed to be treated with flame retardant, otherwise the fabric would create a death trap for those inside if ignited. The Ringling Bros. Circus would lose one big top when flame retardant wasn’t applied.

In regard to the ruined circus canopy painted with dye by Moses in 1906, it was still vulnerable to water. Just because a backdrop was painted in dye did not mean that it could not be water damaged. A dye drop simply helps the painted composition stand up to normal wear and tear, especially for traveling shows. The overall weight of the piece is lighter and folding doesn’t harm the scene. Dry pigment can be used in place of dyes, when applied in a series of thin glazes. Many of the colors remain quite vibrant when watered down. It is possible that early translucencies on stage were simply produced with a thin glaze of dry pigment. After all, when handling pure dry pigment, the color will easily stain fabric – as well as any exposed skin. The staining of dyes is similar to getting ink on your hands when a pen leaks.

To be continued…