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Part 461: Changing Partners

In 1903, Moses was studying art with R. M. Shurtleff, preparing to join the Salmagundi Club, and working on a variety of both indoor and outdoor spectacles. He lived in Mount Vernon, New York, but still traveled quite when touring shows opened in other cities. During these travels, his business partner Hamilton “held down the fort” at their Broadway Theatre offices in New York.

Moses & Hamilton was Moses’ his third partnership and it would end in 1904. In 1887 Moses entered into business with a scenic artist and an art dealer to form Burridge, Moses & Louderback (see past installment 132). By 1895 Moses tried his hand at both theatrical management and a scenic studio, establishing the short-lived team of Moses & McDonald (see past installment 336). By 1901, Moses partnered with Hamilton, forming Moses & Hamilton. My research suggests that this “changing partners” was a common occurrence at the time. The country was large, but the word of successful scenic artists was relatively small and partnerships were necessary to attain larger and more profitable projects. This period of time and the world of scenic art made me think of the lyrics from Patti Page’s song “Changing Partners”

We were waltzing together to a dreamy melody
When they called out “change partners”
And you waltzed away from me

(Here is the link to the song, if you have no idea what I am talking about: https://www.youtube.com/watch?v=ARWBstJHBe8)

The scenic art scene during the late nineteenth and early twentieth century was like one big dance; artists tried to successfully maneuver their way across the dance floor, always in search of the best partner. They were simply trying to find that perfect fit and who might ultimately increase their prospects. If they had found the perfect partner at one time, they would try to return; I think of Sosman & Landis repeatedly drawing Moses back into their studio.

Moses’ memoirs trace his interactions with scenic artists during the nineteenth and twentieth centuries, including Patrick J. Toomey of Toomey & Volland scenic studio in St. Louis, Missouri. For years, Moses would always stop by the studio when he was in town and visit with his good friend “Toomey.” Likewise, Toomey would visit Moses and send him postcards from abroad. Scenic artists needed to maintain a close-knit network so that they could not only could keep tabs on their competition, but also maintain a talent pool for larger projects.

These connections were crucial, facilitating potential alliances for upcoming work. Regional alliances were also made, such as that between Sosman & Landis and their affiliate New York Studios. The stylistic interpretation could vary from artist to artist, but the overall approach to the production of painted scenery for the stage remained relatively consistent until approximately the 1920s. At the time the theatrical industry promoted an artistic standard that was founded on established painting techniques developed in the late 17^th and 18^th centuries. Scenic artists created paintings intended to be viewed from a distance, a unique skill that wasn’t intuitive to many fine artists. Scenic art was primarily an apprenticed trade, supported by an individual’s fine art training.

The first decade of the twentieth century is what I consider the golden age of American scenic art. Scenic artists produced successful illusions, just as their predecessors, but had the advantage of electricity. In other words, they had more to work with as technological innovation flooded the theater industry. This greatest strength would later become the scenic art’s greatest weakness. There is a notable shift in American scenic art as electricity, projections, and moving pictures continue to shape the artistic landscape of the entertainment industry. The studios were working with one foot on a firm foundation and another foot precariously placed on a slippery rock. Many studios would quickly ascend, such as Sosman and Landis, but only a few would last for more than a few years. One such company was Toomey & Volland of St. Louis.

Toomey & Volland evolved from an earlier scenic art partnership called Noxon & Toomey. Thomas C. Noxon and Patrick Joseph Toomey joined forces in approximately 1867. Noxon was the firm’s first president and senior partner in the company.

The firm expanded in 1881 and changed its name to Noxon, Albert & Toomey. The famed Ernest Albert was added to the company, while Toomey was reported to be “the itinerant member of the firm” (Richmond Dispatch, 24 Jan 1886, page 3). For more information about Albert, see past installments 131, 133-139, 145, 154, 179, 231, 244 and 248. The company ran regional offices with studios in St. Louis, Missouri, Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade, but Albert eventually returned to Chicago to partner with Walter Burridge and Oliver Dennett Grover, forming Albert, Grover & Burridge. 1891, the three constructed an innovative scenic studio with twenty paint frames and a display area to fully light and stage completed sets for clients. Although there was much promise, the firm went bankrupt in two years.

Back to St. Louis and Toomey’s activities.

When Noxon, Albert & Toomey ended, Toomey formed another partnership in 1892 – the Knox & Toomey Scenic Art Company. Toomey partnered with George Knox, a stage carpenter; the two specialized in float construction and electric pageant wagons. Float for parades had remained a specialty of Toomey’s since 1878. In fact Toomey dominated the float market in St. Louis for the Veiled Profit Procession and ball. This event was St. Louis’ version of the Mardi Gras parade and will be covered in another installment.

By 1901, Toomey switched partners – again. However this would be for the last time. His new business partner was a scenic artist, one who had previously worked at Noxon & Toomey – Hugo R. Volland. Volland migrated from Grossbremback, Germany, and soon found work at Noxon & Toomey as the company’s secretary. He would be a major Masonic asset major contributor to the St. Louis Scottish Rite for both the 1902 and 1924 buildings.

Like Sosman & Landis, Toomey & Volland jumped on the Masonic scenery and stage machinery bandwagon. From 1901 to 1904 their production of Scottish Rite scenery installations included St. Louis, Missouri; Butte, Montana; Joplin, Missouri; Rochester, New York; and Toledo, Ohio. Likewise, Sosman & Landis created Scottish Rite collections for Salina, Kansas; Little Rock, Arkansas; Fort Scott, Kansas; Chicago, Illinois; and Duluth, Minnesota, during this same time. Just as the original 1902 Sosman & Landis scenery for Little Rock is still used in Pasadena, California, so is the original 1902 Toomey & Volland scenery for Joplin still used in Deadwood, South Dakota. These two collections extremely significant within the framework of Scottish Rite history for the Southern Jurisdiction.

Both scenic studios would remain major players in the scene painting industry for the first two decades of the twentieth-century, having a lasting impact on many future generations of artists. Tomorrow, I will star to look at the scenic artist, and good friend of Moses, Toomey.

To be continued…

Part 460: William F. Hamilton and “As the Sun Went Down” 

As I was exploring the painting projects of Moses & Hamilton, I discovered an interesting project that Will Hamilton worked on in 1909. It appeared in my search as Hamilton’s name was followed by “formerly of the firm Moses & Hamilton.” I found it interesting that a newspaper would mention a previous business affiliation five years after the fact. It suggests that Moses’ name carried a lot of weight, garnering respect, even years later.

During 1909 Hamilton was working on George D. Baker’s play “As the Sun Went Down.” The action of the play concerns the stirring events in the lives of “rough but real folks in some faraway western mining gulch” (Buffalo Evening News, 7 Sept. 1909. Page 50). The plot involved a young minister, an eastern “tenderfoot,” and “lunger.” New word for me; “lunger” was a derogatory term for an individual suffering from tuberculosis. The three charaters are thrust into the “rude social organization of this primitive and uncouth community” (Fort Scott Daily Tribune and Fort Scott Daily Monitor, 28 Dec. 1909, page 8). Enter,“Col. Billy,” a woman “with a record and a beautiful, daring and good heart.” Newspapers compared this new western melodrama to ‘The Great Divide” and “Girl of the Golden West” with scenic settings full of realism (Buffalo Courier, 7 Sept. 1909, page 7).

Ten years later, it was adapted by Baker for a film version. Directed by W. Mason Hopper, advertisements reported, “Not since Bret Harte wrote ‘Outcasts of Poker Flat’ has there been given to fiction or the drama a story so picturesque, so unreservedly different and unconventional as this, the newest Metro All Star Series Production. It’s the story of a bad girl who is bigger and better and finer than most of the girls you ever saw” (The Moving Picture World, 15 Feb. 1919). Metro’s “As the Sun Went Down” was released on February 10, 1919.

The earlier five-act play toured with the Arthur C. Aiston Company, during 1909 to 1910. Other Aiston touring productions included “Tennessee’s Pardner,” “At the Old Cross Roads” and “Shadows on the Hearth.” Aiston’s company was headed by Estha Williams as “Col. Billy.” W. A. Whitecar played the role of the gambler Tarantula, “the ba’ad man of the play,” whose villainous career ended with a venomous snakebite. William Sexton played “Pizen Ike, the worst man in Rattlesnake Gulch” who is shot to death in a duel. Phil Connor played the role of “Piety Pete, the funmaking storekeeper,” while Flora Byam played “Sal Sue,” also nicknamed “Cyclone” by “Fare Bill” (Buffalo Courier, 7 Sept. 1909, page 7). The names just made me giggle.

The show’s painted settings were well received; the “Star-Gazette” reported “The production is an unusually elaborate one for a popular-priced theater, a large number of special scenic effects being provided” (Elmira, NY, 1 Sept. 1909, page 2). The scenery design was credited to Lee-Lash Scenic Co. with the painting lead by Hamilton. “The Iola Daily Register And Evening News” reported, “The scenery is by the Lee-Lash Scenic company of New York and has been especially produced under the personal direction of W. F. Hamilton, formerly of Moses & Hamilton” (Iola, Kansas, 4 Jan. 1910, page 4). Similarly, “The Capital Journal” reported, “As the production is carried complete, it is necessary to have a special baggage car for the transportation of the companies’ scenery and properties” (Salem, Oregon, 8 Jan. 1910, page 9). “The production which is a very elaborate one, comes from the best artists of the Lee-Lash Scenic Company of New York city, each scene gotten out under the personal direction of W. F. Hamilton, formerly of the firm of Moses & Hamilton” (The Evening Statesman, Walla Walla, WA, 31 Jan. 1910, page 7).

The mention of William F. Hamilton’s work at the Lee Lash Studios really peaked my interest, and caused me to recall a clipping in Thomas Moses’ scrapbook. The newspaper article depicted Moses painting on a Lee Lash studio frame. It was possible that Moses was brought in to supervise the painting on the production, just like Hamilton. Lash was known for hiring a variety of artists to work with his paint staff and supervise various projects. This was a unique quality of the scenic art network at the turn of the twentieth century. Artists worked in one studio and then another, quickly forming partnerships that would last for only a few years. We don’t know if it was artistic temperaments or simple opportunities at the time that drove two artistic join forces. It was the artistic culture during a time when work was plentiful.

To be continued…

Part 459: William F. Hamilton, Blood Brother to the Nez Perce and Yakima

While exploring the life of William F. Hamilton, I discovered an interesting newspaper article that provided some insight into this evasive scenic artist. During 1924, George Kendrick submitted a letter to the local newspaper that he had received from his cousin Bill Hamilton. I was surprised that the “Will” who Thomas G. Moses spoke of was known as “Bill” to his family.

“The News-Herald” reported, “When the Hamilton family removed to New Jersey some 30 years ago, Will was a scenic artist, and later did he work on a “white city” in a park in Pittsburgh. He has been in the show business for all these years, his particular line now being the furnishing of special entertainment features” (Franklin, PA, 27 Dec. 1924).   Here is the letter submitted by Kendrick to the newspaper:

“Dear Cousin George:

I read in a late issue of The Billboard that Franklin was soon to have another home-coming celebration, and it reminded me of the fact that for many years I have rather lost track of both friends and relatives in that neck of the woods. While I feel ‘just as young as I used to be,’ I am hep to the fact that I am no longer in the sophomore class, and a notice of George Moffett’s death which came to me a short time ago made me think that some of my friends might be crossing the Great Divide at any time and I would possibly not know of it.

When I left New York four years ago on a hurry up trip to Chicago I thought Broadway would worry along without me for about six weeks. I have never been back, but, from general reports, Broadway has managed to survive the shock. As for myself, I have never enjoyed life more than I have since I settled in California and became a “native son.” My work chases me over the landscape from Canada to Mexico, but I manage to get home often enough to keep fairly well acquainted with my family, and our collie dog has never really bitten me when I have returned from a long trip, and he is a very good watchdog at that.

“Last year, while in the Northwest, I was adopted into two tribes of ‘honest to god’ Indians, the Nez Perce and Yakima. The ceremony of making me a blood brother included the presentation of wonderful old specimens of Indian handicraft, and for several days I was feasted in the tepees of various chiefs, on which occasions I was again given presents which white men could not buy. I have always been a ‘nut’ on Indian relics and that experience finished the job. Before I left I added to my already extensive collection to such an extent that I now have one of the best collections on the Coast. Get letters from all parts of the country from those who have one or more pieces to sell or trade. Went into one of the clubs in Spokane after a trip to one of the reservations. Having motored 150 miles over the mountain I was too tired and hungry to change my clothes before dinner. Joined several friends at one of the round tables. Shortly after I sat down an old-timer who had been in the Modoc war sniffed several times and finally said: “I smell Indian.” I had carried the odor of the wood fires of the tepees in my clothes. The joke was on me and it cost me plenty before I had furnished enough cigars (and other aromas) to kill the smell of Indian to the satisfaction of the bunch.

“Our home is on the King’s Highway, about 16 miles from San Francisco. It is built around a patio in the old Spanish style, with rose vines on all sides and a garden with all sorts of fruit trees in the back – the kind of a place I dreamed of all my life, but never hoped to own. The eternal sunshine is all right, but I miss the frost and falling leaves and welcome a trip to come places where I can see the snow fly. Our cousins, Fanny and Kate, are here in California, but I have not seen much of them, as they live in Los Angeles most of the time and I do not go there often. [The Fanny and Kate “Bill” speaks of are Mrs. Fred H. Hillman and Mrs. J. E. McClintock, sisters of George Moffett]

Well, old top, it is getting late and I am old enough to want my full quota of sleep, especially after the effort required to write a letter on this old machine. Could find a lot to say if I could stand the strain, but, having given you a fair idea of where I am and what I am doing, I will save the rest until I know whether this reaches you or not. I am hoping that this will get a rise out of you and that I may hear how time and good fortune has treated you during these many years; also, how the rest of your family is faring. Is your mother still living and John and the girls? Give them my best wishes. Hoping you are well, happy, and prosperous and that I may have a line to prove it, good night.

Sincerely, Cousin Bill”

To be continued…

Part 458: William F. Hamilton and the Shrine Circus

By 1921, Thomas G. Moses’ former business partner, Will Hamilton, was living in San Francisco, California. Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s and remained their for over two decades. Like many scenic artists, he worked all over the country on a variety of projects. He would later relocate to San Francisco where one of his more interesting projects would involve the Oakland Shrine circus. In the publication “Variety,” there was an article titled, “Hamilton’s Special Events” where he was credited with creating “an abundance for special scenery” for the Shrine (Vol. IXIV, No. 11. Nov. 4, 1921).

The following year, “The Oakland Tribune” included the article “Hamilton Praised.” It reported that Hamilton was again the director for the Oakland Shrine Circus. He was working on the project with stage managers Captain E. J. Parish and Clarence E. Head; chairman of the entertainment committee Lawrence E. Lund; and Potentate Thomas W. Norris (28 April 1922, page 15). The article reported, “W. F. Hamilton, the director, is given credit for his achievement by members of the Shrine.” In 1923 Hamilton was still the director for the Shrine Circus, and once again in charge of the “special preparations” (Oakland Tribune 13 April 1923, page).

I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine. I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge, he continues his education in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine. The Shrine was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of “learning” in the Scottish Rite and York Rite, immediately jettisoning into the Shrine. I have very mixed feelings about this; understanding the need to retain membership numbers, yet abandoning the “work” aspect before the reward of “play.”

As I was looking at Shrine circus programs, I came across a very concise history of the organization in a 1950 issue. It supplied the usual historical background pertaining to the origin of the Shrine. It explained that the Shrine “has for its allegorical background an order instituted by Kalif Alee, a Mohammedan. The order was to further civilization and law and also to promote religious tolerance among cultured men of all beliefs and nations.” The article further explained that William “Billy” J. Florence, a well-traveled actor, was initiated into an Order on one of his tours and the ceremony prompted him to establish an order in America. He wanted to establish “a place where a select group of men could commune and relax and enjoy good fellowship.” Dr. Walter M. Fleming wrote the ritual in collaboration with Florence for this new Masonic organization. Initially membership was limited to Scottish Rite Masons and Knights Templar, with the first meeting being held on June 16, 1871 in a the Masonic Hall, located on East Twenty-third Street in New York City. They formally organized a “Temple of the Nobles of the Mystic Shrine” which they named their “Mecca Temple, the Mother Temple of the Mystic Shrine.” An Imperial Council was later created in 1876, with Fleming becoming the first Imperial Potentate from 1876 to 1886.

The 1950 Shrine Circus program also included a section on “The Purpose of the Shrine.” This may help others understand the organization a bit more. Here it is in its entirety:

“The Ancient Arabic Order of the Nobles of the Mystic Shrine has for its mission the union of the York and Scottish Rite of Freemasonry. Here Masons from both Rites meet on a common level or playground; but it is not a playground merely – it teaches by its tenets and obligations some of the highest ideals of life.

It’s teachings carry a dignified mien that lifts the Masons above the sordid transitory things of life. It transports the mental and spiritual Mason away from the turmoil and strife of earthly things and atunes his spiritual being in harmony with the universe and the music of the spheres. It gives him a glimpse of the great white light of life and Masonry here and hereafter. It teaches some the grandest lessons given for the guidance of a man along life’s journey that he who has listening ears and seeing eyes may learn the great truths taught by speculative Masonry. It does not teach, and in fact, it frowns upon any and all things that should not characterize a gentleman, a man or a Mason. No rough or uncouth act has a place on its program, and any overt act not in keeping with the teachings and spirit of Masonry does violence to its obligation and reflects discredit upon the spirit of the Order, but more directly upon the doer thereof.

The Mystic Shrine embraces all creeds that recognize and acknowledge Deity as supreme. It has for its prime mission unfoldment and evolution. It works begin in the human heart and mind in the morning of creation. It gives a new impetus at the altar, giving the individual a higher concept of life and its duties toward self, home, country, and last but not least toward the higher part or principle in the human heart that elevates man above the beast of the field and makes him a little lower than the angels.”

It can be a wonderful organization with fun-loving men, but there have always been those few members who took it a step too far; the fun and games turned malicious. In certain areas the initiations, as well as the running of the organization, fell under the shadow of a dark cloud. Once, while restoring a drop in Virginia, a few Masons explained that part of their Shrine initiation involved being chased through the streets of Richmond with cattle prods. In Oklahoma, another Mason showed me an early “Shrine Strength-testing Machine.” The device was used for “playful harm.” Each initiate was told they were going to measure his physical strength. When they squeezed the handles of the machine, it triggered a board to raise up and hit the Mason square between his legs. There are many more stories that have been shared with me over the years that I am choosing not to include, as they all cast an unkind light on the organization as a whole.

However, when we ponder why some high school and fraternity hazing ceremonies result in harm, or even death, we just need to look at our own past. A fun initiation can suddenly take a wrong turn, resulting in injury; much depends on the leadership. Sometimes a bully dominates the playground.

To be continued…

Part 457: William F. Hamilton and an Evolving Form of Art

In 1914, W. F. Hamilton’s name appears in “The Brooklyn Daily Eagle” (10 May 1914, page 48). The article reported that Hamilton “painted several thousand feet of profile and hanging effects for a carnival.” This was for the big Actors Fair. The Actors Fair was produced by an organization of players who banded together as the “White Rats.” Their club was located on West 46th Street in Manhattan. The Actors Fair ran for eighty days and included burlesque, vaudeville, circus, sideshow, a medicine troupe, musical comedy, minstrel shows and grand opera. W. F. Hamilton’s painted effects began at the entrance where he created a miniature replica of the average one-night stand town hall. By this time, Hamilton was still living in New Jersey, but he was working all over the country.

In 1918, Hamilton met up with Moses again when he was superintending work for Labor Day floats in San Francisco. Side note: this was for the same parade that the Carpenters Union’s did not include a float as it was part of their Patriotic Act. “The San Pedro News Pilot” reported, “the carpenters turned out in goodly numbers, wearing their white-bib-bed overalls, a big sign being prominently displayed in their division, which read: “Instead of constructing a float the carpenters have donated $25 to the Red Cross” (Vol. 5, No. 284, 4 Sept. 1914, page 2). Much of the San Francisco Labor Day Parade of 1918 focused on labor unions and worker’s rights. There were eighty-seven unions participating in the parade that day, spread out over seven divisions – each with separate Marshals! Some unions who lined up in the first division of the parade were the Riggers, Machinists, Draftsman and Painter’s unions, while the second division included the Theatrical Federation, Stage Employees, Moving-Picture Operators, Bill Posters and Musicians. The same article in “The San Pedro News Pilot,” continued, “A large and gaily decorated palette, which entirely covered an automobile, constituted the feature of the Painter’s Union float, followed by members of the union.”

This is a time when scenic artists and painters were moving in droves to California, following a variety of projects. You can see the shift of scenic artists throughout the country at various times during the late nineteenth and twentieth centuries. After the 1871 fire, Chicago draws many of the artists from the eastern United States, as there were so many opportunities during the rebuilding and expansion of the city. During the late 1890s, New York became another magnet for scenic artists as theater production increased and Coney Island was developed. A third shift occurred during the post-World War I era as the West Coast underwent a dramatic construction boom and the movie industry expanded throughout the region, offering a variety of artistic opportunities. In each instance, artists were brought together and the traditional aesthetic associated with the performing arts is further developed; scenic illusion adopted new effects. Obviously, I am speaking of general artistic shifts and divisions within the theatre industry, as not all artists would have implemented new styles and techniques. Some would hold onto the popular techniques from a previous era. As new forms of entertainment were developed, such as film, scenic painting adapted to each new aesthetic.

The same thing should be happening now – scenic art adapting to accommodate the increased use of digital media and printed images. Here are my thoughts on the matter of increased digital printing, even though my life is steeped in history and traditional scene painting techniques. Please, take it for what it’s worth. Scenic art has always been so much more than the simple act of painting a picture, or replicating a design; it is the continued development of scenic illusion for a performance-based art form. Applied arts programs are following the standard development of scenic art traditions – some theatre arts programs are not. It is a benefit to the scenic artist to not only master pictorial painting and historical techniques, but also to remain knowledgeable about new paint products and digital possibilities. Just like the scenic artists from the late 19th century, you need to familiarize yourself with all of the possibilities to succeed.

There has not been a single painting project that I have not adapted some form of historical painting technique, as they are often the most efficient way to paint both two-dimensional and three-dimensional objects. A few weeks ago, I painted a zombie grinder for Comic Con 2018 (San Diego). For my part of the project, I used the same approach that I have repeatedly incorporated into historical replicas over the years. Why? It increased productivity. In short, it was the fastest technique that I could pull from my “tool kit.” Understanding and practicing historical techniques is always a great asset when completing any painting project, as it helps with seeing the forest for the trees.

To be continued…

Part 456: William F. Hamilton, of Moses & Hamilton

“Will” Hamilton partnered with “Tom” Moses in 1901. The New York partnership lasted until 1904 when Moses returned to Chicago to lead the painting at the Sosman & Landis studio; Landis’ poor health caused him to leave the studio, resulting in Sosman assuming many of the administrative and marketing duties. Therefore, Sosman needed someone to lead the paint studio, essentially functioning as his replacement there.

Hamilton was from the East Coast. He settled in New Jersey during the 1890s, where he remained with his wife Betty for thirty years. He started out as an itinerant artist, working all across the country; traveling from one painting project to another. Moses first met Hamilton in 1892 when they were both hired to work on the designs and painting for a “Ben Hur” production – the tableaux version. Other artistic opportunities presented themselves, briefly separating the two, and they went their separate ways. In 1899, they reconnected when Hamilton sought out Moses in New York City when he needed help with some Christmas displays. It appears that the two personalities and their artistic abilities were still a good fit, prompting them to soon start a studio together – Moses & Hamilton.

Even after their scenic studio folded, the two would continue working together on a variety of projects throughout the States. Moses was at Sosman & Landis, while Hamilton was at New York Studios, the eastern affiliate of Sosman & Landis. Stamps on the back of some designs from the University of Minnesota’s Performing Arts collection denote that the New York Studios “Home Office” was located at 328 West 39^th St. N.Y. They also had a “Chicago Office” for New York Studios. Just as New York Studios functioned as the eastern affiliate for Sosman & Landis, the Sosman & Landis Studio functioned as the western affiliate for New York Studios. New York Studios was managed by a previous employee David Hunt. Hunt has also partnered with Sosman & Landis to establish the theatrical management form of Sosman, Landis & Hunt, in the 1890s. The Chicago Office for New York Studios was located at 1022 Consumers Building. One example of a New York Studios design is a cave composition for the 9^th degree of the Scottish Rite, part of the Holak Collection in the Performing Arts Archives scenery collection (PA49).

Until 1908, Hamilton and Moses continue to work on several projects together, including the “White City” for a park in Pittsburg and the touring show “Tilly Olson.” Similar in nature to “Yon Yonson,” this touring production starred Emily Erickson Greene as the female lead. It tells the story of a young Swedish girl. She was first “bound” to a Minnesota farmer’s family, but later winds up in Minneapolis where she has many adventures, including the prevention of a bank robbery. In the end, she marries and settles down to a quiet country life. After this touring show, Moses records very little interaction with Hamilton, as his focus soon centers on the massive projects subcontracted to Sosman & Landis by M. C. Lilley & Co. (the fraternal regalia and paraphernalia supplier of Columbus, Ohio). Very little is known of Hamilton’s projects at this time, but his home remains in New Jersey. Like Moses, however, Hamilton’s work begins to include the painting settings for fraternal projects.

“Secret societies,” fraternal organizations, and a variety of other social clubs represented a unique clientele with scenic demands. Scenic studios meshed traditional painted spectacle for the commercial theater with unique performances in private venues. Simultaneously, popular scenic illusions continued to appear in massive outdoor spectacles and amusement park attractions for the general public, fueling a demand for visual entertainment. There were ample opportunities for scenic artists to work all across the country at a variety of entertainment venues. Business was booming during the first decade of the twentieth century and competition between studios was good-natured, if not jovial; there was always more than enough work to share.

In fact, there was almost more work than there were skilled painters to hire, leaving some areas with the only option of contracting inexperienced individuals. Many of the smaller projects for social halls, or other tiny community buildings, fell to local artisans who marginally understood the concept of scenic art for the stage; they were not trained in the standard aesthetic for the stage. All throughout the Northeastern United States, small Grange Halls and city halls displayed painted scenery that was more closely aligned with folk art than anything created for New York City or Chicago. Small towns in the west, however, often were able to contract professional scenic artists. In some cases, these small western opera houses were like sitting ducks for the big scenic studios of Chicago, Minneapolis, and Kansas City. Easily accessible by railroad, there was a quick turnaround between contact, contract and delivery.

To be continued…

Part 455: Moses & Hamilton in 1903

In 1903, Moses & Hamilton advertised in Julius Cahn’s Official Theatrical Guide. Cahn’s was one of many guides that described the interiors and technical specifications of potential venues for touring shows. These publications were compiled as a resource for touring companies, assisting them in the selection of appropriate performance venues for their theatrical productions. Many of the technical specifications presented a basic overview of the auditorium and stage house. In addition, necessary travel information, such a local hotels, print shops to publish playbills and posters, as well as the on site theater staff were detailed in the guide.

Moses & Hamilton are credited as the scenic artists for the Broadway Theatre in New York, yet they also had the use of paint frames at two other theaters. Thomas G. Moses was credited with stock scenery at the Loring Opera House in Riverside, California; the Marengo Opera House in Marengo, Illinois; the Columbia Theatre in Bath, Maine; Steinberg’s Grand Opera in Traverse, Michigan; Forbush Hall in Groveton, New Hampshire; Eagle Opera House in Petersburg, New York; Sales Opera House in Cambridge Springs, Pennsylvania; the Academy of Music in Richmond, Virginia; and the Tacoma Theatre, Tacoma, Washington, by 1903.

Moses wrote, “We started the New Year [1903] with more work than last year.   We did among the many shows, “The Ramblers,” “Reaping the Whirlwind,” “As you like it,” “Lost in the Desert,” No. 1 and No. 2, “That’s All,” “Scout’s Revenge,” “Wayward Son,” “Mazeppa,” “The Night Before Christmas,” “Peg Woffington,” “The Red Café,” and “Old Sleuth.”

Moses and Hamilton were also venturing into a variety of large outdoor spectacles, adding these projects to their ever growing list of standard commercial productions and stock scenery installations. In 1903, they were creating a variety of settings for Fred Thompson at Luna Park. Of this experience, Moses wrote, “I had a big show of ‘Fire and Flames,’ a very effective amusement park show. Real fire, real engines and an awful mob of street vendors and loafers. A lot of good comedy and it did good business. We did several other small shows at Luna Park… Luna Park itself proved to be a money getter, and helped to increase the attendance at the Island; better car service was installed to New York and with the steam boats there were facilities on going and coming, enjoyed by everyone.”

These early experiences were exciting and suggested an ever-increasing profit margin. Thompson made it all look so simple, and these new projects promised huge potential, as well as the subsequent expansion of Moses & Hamilton.

During the early spring of 1903, they also started creating the “Streets of Delhi,” a big out-door spectacle, that cost close to $75,000.00. Moses recorded that they had twenty-nine elephants to train and a hundred horses. Furthermore, three hundred people were the company. Of the spectacle, Moses wrote, “I am sorry to say the show was a failure.”

Regardless of this failure, Hamilton was anxious to get into the amusement business, so Moses & Hamilton invested $3,000.00 in 1903 for “The Devil, The Man over the Maid” (today’s equivalent of $81,672 USD). Moses commented, “It was a bit taken from Faust. We had good scenery and lighting effects and many novelties were introduced. One day’s receipts was $400.00 and it all looked good to us, but a rainy spell set in an no one did business on the island.” Their gross receipts were only $9,000.00, instead of the expected $12,000.00. They started with a cast of five people in the show and ended up with twenty-three. Moses recalled that Hamilton took the advice of every old showman on the Island, but none of the suggestions proved to be of any use.

This unfortunate turn of events prompted the two to sell the attraction at the close of the season. When all was said and done, Moses & Hamilton only netted $1,000.00 for all of their effort. Although, better than a total loss, it still convinced the pair that Hamilton was not cut out to be a showman and the game of outdoor spectacles was too risky to play.

I think that Moses didn’t want to risk everything, as he was 47 years old and had worked so hard to enjoy a moderate level of financial success and security. He was working his tail off in 1903, producing stock scenery, touring theatre shows, and outdoor amusements. Yet he remained the prime talent in the studio and was leading the painting of most projects. The amount of work that was completed in 1903 by Moses & Hamilton seems almost unreal to me.

The two would soon part; Moses would return to the secure paycheck of the Sosman & Landis studio, while Hamilton would continue with non-traditional theatre and work in the East for another decade.  Hamilton would become associated with the New York Painting Studio, the eastern affiliate of Sosman & Landis run by David Hunt. Hamilton would eventually specialize in massive spectacles for the Ancient Arabic Order of the Nobles of the Mystic Shrine.

To be continued…

Part 454: Thomas G. Moses and “The Night Before Christmas”

In 1903, Thomas G. Moses designed and painted the scenery for “The Night Before Christmas.” This was not a theatrical version of the seasonal poem, but a pastoral-comedy-drama that toured the New York area during 1903. Hal Reid’s show depicted a domestic picture of rural life in the Buckeye State was advertised as “The Laugh Producing and Tear Compelling Story of Real Life! SENTIMENT! LOVE! MIRTH! TEARS!” “The Night Before Christmas” was one of Burt & Nicloai’s productions. They were theatrical managers located at 1495 Broadway in New York. The show first appeared in 1900 and toured the circuit as “The Old Home Drama” that was “a picture of nature” (The Bedford News, 24 October 1901, page 4).

By the beginning of January in 1903, the show was receiving rave reviews in Buffalo, New York. It was performed at the Academy, known as “Buffalo’s Family Theatre,” and was one of five performance venues in the city. This was the production for which Moses created painted settings. The seating capacity at the Academy’s ground-floor theater was 1,586 (624 Orchestra, 352 Balcony, and 600 Gallery). The stage was framed by a proscenium measuring 40’ wide by 41’-6” high. The height to the fly gallery was 25’, with the height to the rigging loft at 52.’ There were 18’ grooves, but only for tormentors, not wing sets.

“The Buffalo Morning Express” reported, “The play is beautifully staged and abounds with realistic situations” (11 Jan 1903, page 25). At the same time, “The Buffalo Evening News” published, “The scenery was fine and the play handsomely staged, the churchyard scene and the court room scene coming in for the greater share of the applause. The plot of the story is very original and the love story is a fresh as the new mown hay. The story is complicated and tells the struggles of Jack Phillips to abstain from liquor for the sake of the girl he loved. The villain, Bud Meade, forces his attentions on the girl after a quarrel with Jack is killed by a tramp, who was at one time wronged by Meade. Jack is accused of the crime, tried, and sentenced to death by the judge, who is Jack’s father, faints upon pronouncing the sentence. The father in time becomes Governor of the State and pardons his son, whereupon the tramp confesses and comes out right in the end” (13 Jan. 1903, page 8).

“Plain homespun characters are introduced, and the unaffected simplicity of scene and incident seems to exert a potent charm over all classes of theatergoers. Great pains have been taken to give the play, and adequate scenic equipment and a fine company, numbering nearly 30 people, will be seen” (Buffalo Enquirer, 3 Jan. 1903, page 9).

By the fall of 1903, the show was playing at the Gotham theatre in Brooklyn from September 7 to 12. Jack Drumier played Judge Phillips, formerly the leading man of the Elite Company. Jack Phillips was played by James B. Marting, with Amanda Hendrix as Marian Williams and Helen Gurney as Mrs. Judge Phillips (The Brooklyn Daily Eagle, 8 Sept. 1903, page 10). The Gotham Music Hall is also fascinating; it opened in 1903 (some say 1901) and was built solely for plays and vaudeville with a 1,750-seat auditorium and stage house occupying the better part of a city block. In 1904, owners Sullivan & Kraus hired architect Thomas W. Lamb to do some minor alterations; it was his first theatre-related commission. By 1908, the venue was taken over by William Fox and began to include movies. The theater was razed for parking space in 1941. At the time, it was the oldest theater in East New York, originally built by the late Otto Huber, the brewer, as the Brooklyn Music Hall in 1894. It replaced Bennett’s Casino, a venue that had been destroyed by fire in the same decade.

“The Buffalo Morning Express” commented that the most thrilling scene in the show was the court scene, in which the father is sitting in judgment upon his son. “In this scene, a dry and usually uninteresting proceeding is turned into a thrilling act” (The Buffalo Morning Express, 11 Jan 1903, page 25).

To be continued…

Travels of a Scenic Artist and Scholar: The Paramount 

The last event for the League of Historic American Theatres (LHAT) was at the Paramount Theatre. We learned about the incredible history of this beautiful historic theater and its inspiring staff. Each of the staff gave brief presentations and insight into the running of their venue. We looked at funding, educational development, community outreach, and productions.

What struck many of us was the passion and dedication clearly apparent as individuals spoke about their role and mission. It is apparent that the employees feel appreciated. They are treated very well; this feeds into and supports their continued dedication. This is such a no brainer. In this venue, labor is not the enemy. Great healthcare, benefits, and support pay off in the long run.

The executive director of the facility took the time to explain their approach. The repeated over and over that they took the time to investment in their greatest asset…our people. This venue treats their patrons and staff equally well. They are an example of what all theaters, and businesses, should aspire too.

Only 20% of their revenue is dependent on grants, with the majority of their funding originating from private sources. They worked hard to achieve this level of success and continue to work hard at it.

The LHAT closing party was held on stage with a Texas barbeque theme, complete with picnic tables, bourbon samples, and sparking lights overhead. Despite everything else that is troubling in the world, we all needed this community event and positive message. The experience left me with a feeling of hope.

To be continued…

Travels of a Scenic Artist and Scholar: Ample Opportunities, July 17

One of our Austin adventures included another trip to the Scottish Rite. We wanted to further explore the effects of electric lighting on the backdrops and brought a few people along. It is delightful to watch people see the magical transformation of light on painted scenery for the first time.

The appearance of light on dry pigment backdrops (also known as distemper painting) is partially created with the specific combination of colors selected by the scenic artist. A blue seascape was not created with pure blue paint from a can, or it would appear flat. A purple shadow was not created with purple paint from a can, or it will appear unnatural. Each backdrop color was a combination of both warm and cool pigments. In college, I was taught to “knock down” the brilliancy of a pure color from the can, adding a complimentary color. Part of this reasoning is to make the painting appear more natural, and not too vibrant as when it comes straight out of the can. Another reason is that both the warm and cool colors uniquely reflect light – it is all about optics.

When making a lovely purple shadow that defines a nineteenth-century forest composition, or some architectural detail, the historical combination of complimentary colors may be ultramarine blue and French mineral orange. This is just one example. There is both a warmth and coolness represented in this color combination throughout the composition.

During two conversations with historic theater owners, I was able to watch their complete comprehension of a historical aesthetic; the facial expressions said everything as they processed the information. That being said, not all people understand color. Not all people understand the variables in painting techniques throughout the 19^th and 20^th century. I encountered two people today who understood both – this is remarkable

Both understood exactly what I was talking about in terms of color palette as we watched the drop’s magical transition under different lighting effects. It was some of the most exciting exchange of information that I have ever had with a potential client. I recorded the scenic illusions in both still photography and videography, capturing the effects of various lighting effects on historical drops. These images were shared with many colleagues at the conference, as well as theatre owners. All were astounded at how the stage composition shifted in appearance and overall composition. At one point, he exclaimed, “I can’t believe how it looks like an entirely different setting now. It’s the lights!” It IS a big deal to present the possibilities to a historic theater owner. This is one of the reasons that early 20^th century scenic studios used electrified models to display the scenery; you have to see it to believe it. There are so many possibilities for the stage, with minimal investment.

After our Scottish Rite adventure, we accompanied our friend Frank Cortez to the Long Center. Cortez runs the backstage area at the Long center as well as taking care of the aging counterweight system at the Austin Scottish Rite. He is an amazing and very talented professional. It is wonderful to see a space through the eyes of someone who has worked in a performance venue for years; there is both the presentation of the flaws and advantages of the venue. What a lovely space. I absorbed much information about the current counterweight system like a sponge; I love the mechanics of the entire system and wish that I had studied the intricacies of theatrical rigging just a tad more while in college. After a long day, we returned to our lodging and later met with a dear friend, Karen Maness. We exchanged stories about scenic art, the Press, and the future of our industry.

To be continued…