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Copyright © 2024 by Wendy Waszut-Barrett

Mike Hume and I drove to Chatsworth House on the afternoon of August 5, 2024. This was after visiting the Buxton Opera House with Diana Walkden that morning. 

The drive was wonderful, and we had just enough time to make a few brief stops. One quick stop was at the Bakewell Tart Shop. Nothing like eating your way through the UK, or the Hobbit Diet as I now call it!

Although the morning was somewhat overcast, blue skies began to appear as we neared Chatsworth House.

It was Louise Calf who assisted with the necessary introductions for our visit. We had met at the Tyne Theatre & Opera House conference last year. Calf is the theatre expert for Chatsworth House, a University of York doctoral candidate who is researching the history of the space and its scenery collection.

Calf introduced us to Fran Baker (Head of Archive and Library), who organized access for our visit on August 5. Baker and Elania Pieragostini (Senior Curator, Devonshire Collections) graciously took a substantial amount of time to show us to the theatre. They even took us up to the roof for a stunning view of the Chatsworth Estate and countryside!

Since our visit, Calf has shared an abundance of information, including William T. Hemsley invoices.

I am going to start with alterations to the hall, as it was not initially constructed as a theater. The following information is from a text panels at the entrance of the theatre:

The Theatre – Formerly Ballroom or Banqueting Room

This room was designed by Sir Jeffry Wyatville as a ballroom for the 6^th Duk of Devonshire, and completed in 1832. The ceiling is decorated with the late 17^th century painted panels by Sir James Thornhill and Louis Cheron. These were removed from the walls of the 1^st Duke’s Long Gallery and adjacent Little Dining Room when they were converted into the Library and Ante Library of the 6^th Duke. The two boxes and the gallery above, are part of the original furnishing of the room. One was used by Queen Victoria when she attended a ball here in 1843. The room was subsequently used for entertainment of various kinds. In 1896, the 8^th Duke commissioned William Hemsley, a leading London Designer and supplier of ‘theatrical scenery and appliances’, to fit the room out as a theatre. He provided a permanent stage, stage equipment, a painted proscenium and front drop curtain, and a number of sets. Most of these remain, and are extremely rare survivors of late-19^th century scenery. Between 1898 and 1907, the theatre was used so regularly during the winter visits of the Prince and Princesses of Wales (later King Edward VII and Queen Alexandra), with performance plays, dance and music to entertain the royal house party, that the press of that time dubbed it the ‘Theatre Royal’. From 1989 to 2005, the room was used for textile conservation, now moved elsewhere.

Chatsworth House records detail the fitting up of the ballroom for a theatre in 1896. Itemized invoices from the Midway Rail Company (for the carriage of goods) include lists of supplies, such as canvas frames, coil ropes, drum cable, canvas bundle, 5 packages of scenery, 200 chairs, and much more.

There is nothing quite like examining a scenic artist’s bill of sale for theatrical goods. Over the years, I have studied quite a few. It provides an amazing glimpse into material expenses, wages, and shipping logistics; a wonderful snapshot for any trade.

In Feb. 1896, a bill of sale was created at William T. Hemsley’s scenic studio for the Duke of Devonshire; itemizing the “making and painting” of both act drop and scenery collection. Stock scenery included Proscenium Drapery Wings, Profile Tormentors, Double Wings, Fireplace, Borders, Small Cloths, Mantle Piece, and Interiors (dark and light chambers).

I want to place these records within a much larger context. The contents of the Devonshire Collection Archives, held at Chatsworth, spans over 450 years. It details the lives, careers, and estate management of the Cavendish family, filling over 6,000 boxes!  This, combined with the ongoing management of other estate artifacts, such as paintings, sculptures, etc., is overwhelming. In the big picture, a painted proscenium and stock scenery collection is overshadowed by the management of everything else. It’s a really good thing that Louise Calf is their theatre specialist!

Understandably, I was unable to see the entire scenery collection and act drop; the latter being encapsulated in plastic and suspended behind the proscenium opening.

What I did focus on during our visit was the painted proscenium – the second project that Hemsley was hired to paint for Chatsworth House Theatre in 1897.

In the spring of 1897, Hemsley submitted an invoice for the painting of the proscenium and supply of canvas. The painted proscenium is absolutely stunning.

Although, it has greatly deteriorated over time (paint is dusting, fabric is torn, and cords run through holes in the fabric), it is a remarkable work of Trompe l’œil for the stage.  From a distance it still creates an illusion of dimensionality that is very believable. Upon first glance, you have no idea that the ornamental frame is two-dimensional.

The painted proscenium is quite significant, and in some ways unparalleled. Last year when we visited the Gaiety Theatre on the Isle of Man, I was captivated by Hemsley’s scenic art and economy of brush stroke. The proscenium surround at Chatsworth House reminds me of his Act Drop for the Gaiety Theatre.

In the end, I wrote two posts about Hemsley: The Gaiety Act Drop by William T. Hemsley and W. T. Hemsley (1850-1918), Scenic Artist.

Hemsley and his studio were featured in an article for the 1899 issue of Cassell’s Magazine. Here are a few illustrations from “Scene-Painters and Their Art.”

As pictured above, scenic studios employed a variety of artisans beyond the scenic artist who founded the business. When scenery was manufactured at a large studio, it could have been the product of numerous hands. For example, George Hemsley worked for his father in the mid-1890s. Both William and George Hemsley were mentioned in the renovation of Whitable’s Assembly Rooms.

On Sept. 21, 1895, the Whitable Times reported, “The hall is being entirely repainted and decorated, but in addition to this a permanent proscenium is being constructed and will be furnished with an act drop and several scenes, painted by Mr. George Hemsley, under the direction of the well-known scenic artist, Mr. W. T. Hemsley. The platform is extended six feet and the prompt side three feet in front, so that the proscenium will be 18 feet wide, the whole forming a good workable stage. The drop scene is a very handsome and realistic representation of a view of Neapolis.”

I want to repeat one particular line from the article – “The hall is being entirely repainted and decorated, but in addition to this a permanent proscenium is being constructed and will be furnished with an act drop and several scenes.” This sounds exactly like the work Hemsley delivered to Chatsworth House in 1896 – less than six months later.

It is possible that George Hemsley, under the direction of his father, was also responsible for some of the scenery delivered to Chatsworth House Theatre.

I am really looking forward to learning more about Louise Calf’s discoveries and thoughts concerning this wonderful theatre and scenery collection.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Mike Hume and I arrived in Buxton on the evening of August 4, 2024.

On the morning of August 5, we had a little time to wander about town, taking in a few sights.

Buxton is a spa town in the east Midlands region of England, built on the River Wye. With ancient origins, Buxton became known for the healing properties of its waters. In fact, the one of the first things we did upon our arrival was to fill our water bottles at St. Ann’s Well, a shrine since medieval times.

Buxton’s website explains that St. Ann’s Well was denoted one of seven ‘Wonders of the Peak’ by Thomas Hobbes in 1678: “this cures the palsied members of the old, and cherishes the nerves grown stiff and cold”.  Warm water, from a  geothermal spring, flows at a constant 28 degrees Celsius (82.4F). High in magnesium, the same spring water is bottled and sold as Buxton Water.

Mike had scheduled an appointment with Willow Hick, production coordinator at the Buxton Opera House. I am still a little amazed that anyone allowed us to visit during the International Gilbert & Sullivan Festival.

It was also a perfect opportunity to visit old friends. As Diana Walkden lived nearby, we invited her to join us on our excursion. It was a really good thing too, as her involvement with the current Matcham exhibit on display in the building likely expanded or tour options that day!

Buxton’s Opera House was designed by Frank Matcham (1854-1920). This architect has quite a following, although that wasn’t always the case. He has a really interesting past and his theatres are absolutely gorgeous. For more information about Matcham, visit the Frank Matcham Society.

Opening on June 1, 1903, the Buxton Opera House featured live performances until 1927. As was the case with many theatre at this time, silent films were introduced, thus shifting the direction of scheduled entertainments. Although live performances persisted over the years, the Buxton Opera House primarily served as a cinema, then gradually fell into a state of disrepair. Fortunately, it has returned to its former glory, reopening on July 30,1979, with a performance of Lucia di Lammermoor.

Here are some of my favorite photos from our visit:

As with all of our theatre visits this trip, Mike Hume’s Historic Theatre Photography will share more detailed information and photos for this and other venues.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

This particular post is about our journey from Settle to Buxton in England. What could have been less than a 3-hrs.-drive, took us all day long. Overall, it was quite an exciting day.

Starting with our morning visit to Victoria Hall (see yesterday’s post), we hiked to Scaleber Foss (waterfalls), explored Skipton’s Castle, enjoyed a Sunday Roast in Kelbrook (village in Lancashire), dropped Grit Eckert off at the train station in Manchester, visited The Plaza in Stockport, and snuck into Buxton’s Opera House (during intermission of HMS Pinafore). It was an absolutely amazing day and I will share some photos from each leg of our journey.

For geographical context, here is a map of our travels on August 4, 2024.

After visiting Victoria Hall that morning, we enjoyed coffee and some Victoria cake before visiting the local scenic attraction known as  Scaleber Foss. We travel a bit like Hobbits; first breakfast, second breakfast, elevenses, and so forth. It makes up for the energy spent tromping across towns and in theaters.

Also known as Scaleber Force, it is a 40-ft. high waterfall on Stockdale Beck, flowing into the River Ribble between Settle and Long Preston in the North Yorkshires. Sounds a bit like fairytale locations, right? The landscape is enchanting even on a cloudy day.

Although the water is much more forceful in spring, late summer slows the stream down to a trickle, a series of gentle cascades.  Over time, water has eroded the limestone, carving out giant steps that lead to the base of the ravine.

I was surprised to discover that some believe Scaleber Foss was inspirational to Edward Elgar; he walked the countryside with his friend Dr. Buck, of Settle.

Despite overcast skies, the serene landscape, tumbling waterfall, steep footpath, and dense foliage were magical. The water was so pleasantly cool that I couldn’t resist going barefoot in the stream. 

Our next stop was Skipton Castle, known as one of the best-preserved medieval castles in England. Atop a rocky bluff, high stone walls are quite formidable to those below.

At over 900 years old the Skipton Castle is still fully roofed and contains Lady Ann Clifford’s ancient yew tree in the Early Tudor Courtyard.

I was especially taken with the castle’s Conduit Courtyard. According to guidebooks, “It is formed by a range of domestic buildings which survive unaltered and intact from early Tudor times.” In the center, a stone bench surrounds an ancient yew tree, planted by Lady Anne Clifford in 1659.

Here are a few more photographs from our visit to Skipton Castle.

We were all able to enjoy an early dinner – Sunday roast – before heading on to Manchester where Grit grabbed a train back to London. Mike and I were now headed to out next destination – Buxton, as the next morning we were touring another Opera House.

On a whim, Mike suggested that we stop at Stockport and visit The Plaza Amazingly, he was able to get us in for a quick tour from a head usher after the show let out.

What a treat!  

Our visit took place just before the new House Tabs were installed.

Then we were off to Buxton.  Little did we know, but the town was bursting with visitors, many attending  the 30^th International Gilbert & Sullivan Festival. Had we only known, tickets would have been purchased in advance! This festival is now officially on my bucket list with Andrew and Aaron.

It was an absolutely lovely evening as we wandered around the opera house. Occasionally a few lyrics from H. M. S. Pinafore interrupted the quiet night.

After lurking about until intermission, we were able to sneak in through a side door to see what the house looked like full of people. No, we didn’t stay for the second act. It was a sold-out show.

My next post will be about the Buxton the Opera House.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Victoria Hall is listed as one of the first purpose-built music halls in the UK.  

The music hall was built by Rev. James Robinson, a local philanthropist and secretary of the Settle Choral Society. From its inception, the hall was constructed for both public instruction and entertainment.

The formal opening and dedication of the building took place on Monday. Oct. 11, 1853. Celebratory events included a performance of Haydn’s Creation, featuring vocalists and instrumentalists from choral societies in Settle and Leeds.

Over the years, Victoria Hall hosted a variety of entertainments that included caricaturists, ventriloquists, magicians, and even P. T. Barnum side-show acts. Local groups also met in the building, including the Settle Mechanics’ Institute. Mechanics’ Institutes were educational organizations formed for the betterment of society through instructing individuals in various trades and subjects.

By the 1879, Settle’s Music Hall became home to the Settle Amateur Dramatic Society. It was this group that likely fueled the demand for the 1882 Act-drop curtain, currently on display. Painted by Society member, Edmund Handby (1850-1918), a local artist and performer. Dozens of newspaper accounts recount Handby’s skill as a painter, comedian, vocalist (tenor), and instrumentalist (coronet player).

It was the discovery of Handby’s Act-Drop, combined with the revelation of the painted proscenium arch, that helped guide the most recent building renovation. The Victoria Hall backdrop received a grade II listing and is believed  to be one of only five similar surviving in England.

Covered in a layer of dust, the act-drop had been stored for decades above the rafters. Storing scenery above the stage, above an auditorium, or in the distant recesses of a theatre is not uncommon.

When painted scenes became damaged, or were deemed unnecessary, there remained individuals who understood the cultural significance of each artifact. These people, whom I consider to be the first generation of stewards, helped preserve historic stage artifacts by storing them in hard-to-reach locations. If an artifact was difficult to access, it was less likely to be thrown out on a whim.

In addition to the discovery of the Act-Drop, Victoria Hall’s painted proscenium arch was also revealed in the 1990s when a chunk of plaster fell away during the redecoration.

The painted proscenium arch is quite stunning; a glimpse into an era when decorative ornament was not always dimensional.

Side note: Although no one is currently credited with proscenium arch painting (c. 1909), it is very possible that it is from Handby’s brush. I am not convinced that someone else would have been asked to paint the arch if Handby was still painting in Settle at the time. I also look at the fringe and tassels (despite their being recently restored), and see a similarity in style – but with the experience of time.

The discovery of culturally significant artifacts can often generate community support.  In 1994, there was discussion about adequate community facilities for leisure and recreation in Settle. The choice was either to build an entirely new community center or “rehabilitate” Victoria Hall.

Settled Victoria Hall Ltd was established in 1999, and now holds a 99-year lease from Craven District Council. Despite the building’s derelict state at the time, funds were secured to renovate Victoria Hall. The restored venue reopened on March 3, 2001.

There are two lovely scrapbooks about the history of Victoria Hall; graciously shared by Finance & Marketing manager, Josie Guthrie.

It was Guthrie gave us full access to the hall on August 4. Mike Hume fully photographed the space, so more information will be published at Historic Theatre Photography. I will provide a link HERE when it is ready.

This post focuses on life and career of Edmund Handby, as well as his large-scale artwork for Settle’s Music Hall in 1882.

I will start with Handby’s act-drop. The subject is based on an 1822 artwork by George Nicholson. Here is the image included in the Victoria Hall scrapbook:

Here is a color lithograph available online at Rare Old Prints

The composition features the Settle market place in the 1820s. Elements identified in the painting are The Shambles (far left), the Old Tollhouse (pictured center and later demolished to make way for the town hall), and Castleberg Rock (although exaggerated, pictured in the distance).

There is one other thing that caught my eye beyond the composition – the fabrc. It was constructed with standard drill cloth. I have only encountered this type of fabric in stage scenery once before – at the Tabor Opera House in Leadville, Colorado. The Standard Drill cloth was manufactured by Stark Mills, Manchester, New Hampshire, USA.

Standard Drilling cloth, manufactured at cotton mills, was popular for lining used in skirts, pants, and jackets. In rural communities, it was readily accessible to use for theatrical scenery. For more information about this type of fabric, here is my post about Stark Mills standard drilling cloth.

The Victoria Hall scrapbooks have a section devoted to Edmund Handby, identifying him as an “Operatic Stalwart.” Dressed up as Stephen in Iolanthe, he certainly looks the part!

Here is a better photograph of his image in the scrapbook:

Before I get into the details of Handby’s life and career, I want to place his life within the context of a much bigger picture – that of rural scenic artists in both the United Kingdom and United States.

Handby represents the majority of scenic artists working from the early-to late-19^th-century. These small-town scenic artists poured both their time and talent into so many local and regional endeavors. They were essential members of the community, who, in most cases, were extremely active citizens. The participated in the majority of public events and entertainments. These scenic artists were integral to rural communities with entertainment halls. Local heroes one could say. Although most never received any national recognition (as they were not associated with major metropolitan venues), their contribution certainly deserves mention in history books.

Small stages across the country offered many aspiring artists an opportunity to showcase skill. Scene painting projects provided an opportunity to be heralded and respected by their community, and in some cases region.  Artists such as Handby took on a variety of projects, working as decorative artists, sign writers, carriage painters, glaziers, chemist, and plumbers. Their contributions were very, very visible to the general public. Many local artists also taught painting classes and sold their small-scale artworks at local stores and events.

Rural scenic artists often fully embraced every aspect of the production too – music, performance, and management. They contributed in so many different ways to numerous amateur groups, including dramatic societies, operatic societies, orchestras, bands, fraternities and other social organizations.

Here is Handby’s tale…

Edmund Handby was born in Bentham, Yorkshire, England, in January 1850. Some of his descendants indicate that he was nicknamed “Ted” by family and friends. Handby was the youngest of three sons, born to James Handby (1816-1874) and Ann Tomlinson (1809-1871). His older brothers were John Handby (1841-1918) and James Tomlinson Handby (1846-1897).

Their father tried his hand at a variety occupations over the years, working as a constable, quarryman, and gardener. Gardener seems to have been the one that eventually stuck. A few interactions and court cases published in local newspapers suggest that James Handby Sr. was quick to temper and little foul-mouthed. That being said, it is it hard to judge a person, or the dynamics in a small town, when so much time has passed. However, when you look at the whole of a family, you can see that something was at play. It may not have been the easiest upbringing for the Handby children. I am only going to mention his two brothers at this time.

Edmund’s oldest brother (John Handby) was apprenticed as a Plumber and Glazier by 1861, although he was still living at home with Edmund and his parents. By the way, this is the same trade listed by George Rivers Higgins in a past post (scenic artist of the woodland scene, Georgian Theatre, Richmond).

Edmund’s brother James Tomlinson Handby was out of the family home by 1861, despite his young age. He was likely placed as an apprentice at little father away. James Handby Jr. became a tailor by trade, but died relatively young. He passed away at the age of 52 yrs. in 1897. The cause of death was listed as “suicide during temporary insanity.” James Jr. shot himself.

Little is known of Edmund Handby’s formative years in Settle. The Handby family were still living in Settle. On Oct. 8,  1863, The Bradford Observer listed his father “James Handby, gardener, Settle” as contributor for a gift to the Rev. M. Wood, Second Master of Giggleswick School. The gift was a Tea and Coffee Service, Salver and Purse containing 200 guineas.

Three years later, his son made the news.The first mention of Edmund Handby has to do with a tragic railroad incident.

On August 18, 1866, The Lancaster Gazette reported, “The Windermere Excursion Train Accident – Our usually quiet little town was thrown int a state of great excitement on Wednesday when the news came that an accident had happened to the excursion train which had that morning taken a great many passengers from Settle and Windermere. Those who had friends or relatives amongst the passengers were concerned to know whether that had escaped injury, and several persons met the train at the station on its return to learn the truth. Then, and not till then, it was ascertained with certainty that no Settle persons had been seriously injured, except a young man of the name Edmund Handby who got badly hurt about the head, and was brought home by an earlier train and placed under medical care. Very many were more of less bruised, and among them were the following, who were more seriously injured than the rest, viz.: Mr. Michael Wilson, the young man Handby, a son of Mr. Greenwood, grocer, Mrs. Perfect, Miss Clayton, and Mrs. J. Brennand. All, we are glad to hear, are going on favorably.” This places the Edmund Handby and his family in Settle, between 1863 and 1866 when Edmund entered the painting trade as an apprentice.

Here are two articles that mention Handby’s social activities before he settled down in 1872. On Feb 27, 1869, The Lancaster Gazette  announced that in Settle, the Band of Hope had sponsored a Music Hall entertainment. Readings, recitations, speeches and songs were presented by various local citizens, including Handby who sang (with chorus) Eulalie.

On Dec. 10, 1870, The Lancaster Gazette listed Handby as performing a coronet Solo -Air with variations – for another Band of Hope entertainment at the Music Hall.

That is pretty much the extent of Handby’s activities published in local news prior to his marriage. When he did wed a few years later, the trade of painter was listed on his marriage certificate. In 1872, Handby also listed his residence as Huddersfield in 1872, whereas his wife was living in Settle. Huddersfield was southeast of Leeds, a significant distance from Settle, but a much larger town.

Edmund married Jane Holmes on April 23, 1872, at Ascension Church in Settle. The two remained in town where Handby continued to work as a painter and decorator.

Edmund and Jane celebrated the birth of six children: John (b. 1875), Bertram (b. 1881), Bessie (b. 1883), Edmund (b. 1887), Annie (b. 1888) and Madeline Ellen (nd).

For larger painting projects throughout the area, Handby advertised for assistants. On May 5, 1875, Handby placed a want ad in The Bradford Observer: “TO PAINTERS. – Wanted, Two or Three good HANDS. Apply to E. Handby, Settle.

He also continued to perform, joining a variety entertainments. For example, Handby performed the song “Nina” for the Settle Cricket Club entertainment at the Music Hall in 1876 (1 Jan. The Lancaster Gazette p. 3). Overall, the majority of Handby’s social activities were included in newspapers throughout the 1880s. One in particular made me chuckle; Hanbdy performed in the William Tell burlesque. The burlesque was part of the Church Institute’s annual tea party (17 Jan 1880 The Lancaster Gazette).

The year before Handby painted Victoria’s Hall act-drop, the 1881 Census listed his household as including: Edmund (31 yrs., head), Jane (35 yrs., wife), John (5 yrs, son), Edmund (2 yrs., son) and Margaret Holmes (18 yrs., niece). Margaret would never leave the Handby home, eventually becoming their maid.

In the 1881 census, Handby was listed as a decorator and photographer. As many scenic artists at the time, photography was a natural addition to the painting trade. By now, his sons  John and Edmund were 15yrs, and 12 yrs. old, respectively.

In 1881 Handby also placed an advertisement in The Daily Telegraph, inquiring: DRAPERY. – WANTED, smart YOUNG MAN, with almost three years good experience, for drapery counter, and to assist in dressing window.- Apply after six p.m. to Edmund Handby, 6, Willow-place, near Stoke Newington Station.

It does not appear that Hanby remained in the photography profession for long, soon returning to the decorative arts and performance.

Handby performed the role of “Toby Perch” in Morton’s Old Honesty. On Feb. 18, 1882 The Lancaster Gazette reported, “Mr. Handby’s comicalities both of look and gesture completely captivated his auditory, whose applause at times was nigh deafening.”

It was about this time that Handby also became quite active in the newly-formed Amateur Dramatic Society. He was credited as not only a performer, but also the group’s scenic artist (4 Dec 1880 The Lancaster Gazette p. 3).

1882 productions, with scenery painted by Handby, included Amateur Dramatic Society’s The Post Boy and My Turn Next. On Dec. 18, 1882, The Lancaster Gazette reported, “As on former occasions, the scene painting was done by Mr. E. Handby, and the stage effects by Mr. R. Grime. On this occasion their united labours had produced the most elaborate scenery which was universally admired.” Handby continued to perform with the group, and was in the production of All That Gliters is Not Gold in 1884. (19 Apr 1884 The Lancaster Gazette p. 6)

At the same time, Handby was also singing with Settle’s Choral Society. He sang as a tenor solist in Hadyn’s Creation (23 Apr 1881 The Lancaster Gazette p. 5) and in W. H Birch’s Robin Hood (6 May 1882 The Lancaster Gazette p. 8). On Dec. 23, the Weekly Examiner listed Handby singing at the first concert of the newly formed Holmfirth District Choral Society. The article reported, “Mr. Handby (of Settle), who is on a visit to this district, sang two recitatives and two airs with an excellent tenor voice.”

On March 3, 1883, The Lancaster Gazette reported that donations to the Royal Albert Asylum for Idiots and Imbecils of the Northern Counties, Lancaster, received “Settle – E. Handby, two framed pictures, per Cbr. Brown, hon. Local Secretary.” Side note: Keep this type of event in mind when you read my future blog about Normansfield Entertainment Hall. Handby continued to perform with choral groups throughout the 1880s. Here is one more example. On July 9, 1887, The Leeds Mercury reported that “Mr. Handby, of Settle” sand a solo at the annual North Craven Choir Union Festival at Gargrave.

Handby continued to work as a scenic and decorative artist, hiring help as needed for larger projects. On April 25, 1883, Handby placed an advertisement in The Leeds Mercury, looking for a “PAINTER and PAPER HANGER; steady man. Apply Edmund Handby, Duke-street, Settle.” By now, Handby was 33 yrs. old and doing quite well. His projects included room decor for many different social events that were planned throughout the season.

On Jan. 5, 1884, The Lancaster Gazette reported, “LIBERAL CLUB BALL – The annual ball in connection with the Settle Liberal Club was held at Drill Hall on Friday evening, 28^th ult. There was a large and representative assembly, by whom dancing was kept up with vigour and evident appreciation into the small hours of the following morning. The Settle quadrille band supplied the musical requirement, whilst Mr. Overing provided the refreshments, which gave great satisfaction. The room had been artistically decorated by Mr. Edmund Handby.”

Here is another example…On Jan. 3, 1885, The Lancaster Gazette described CHRISTMASTIDE’s Volunteer Ball at Drill Hall, noting, “The room had been most tastefully decorated for the occasion by Mr. Edmund Handby.”

Although it is easy to think of Handby as an amateur artist and performer, his career mirrored that of many well-known English and American scenic artists, as he also exhibited his fine art works.

On Dec. 13, 1884, The Lancaster Gazette announced:

FINE ART EXHIBITION. – Mr. Edmund Handby’s exhibition of oil-paintings, water-colour drawings, hand painted mirrors, and screens and other works of art, which was opened in the Assembly Room at the Ashfield Hotel on Tuesday the 2^nd instant and continued until Wednesday last has afforded genuine pleasure to the many visitors who have inspected the collection. The display of valuable oil-paintings and water-colour drawings comprise several; meritorious works which did infinite credit to the respective artists. The mirrors and screens exhibited deserve more that a passing notice, not only on account of their artistic merit but as being work of a native of Settle. It is to Mrs. McClelland that we owe the revival of this art, which was formerly practiced by the early Italian masters and used simply as a wall decoration. Now, however, Mrs. McClelland has applied it to a variety of objects which have taken prominent places in artistic English homes.

I would really love to see one of his paintings! Just to see how it compares with his large-scale scenic art.

There was also another aspect of Handby’s life that I stumbled across while doing research – he became a Freemason in 1885, joining Castleberg Lodge No. 2091, Settle. Handy was initiated on 25 June 1885, becoming a Master Mason when he was raised on Dec. 2, 1887. Grand Lodge records list Handby’s profession as a decorative artist. This could have cemented many future projects in the area.

By the 1890s, Handby began to look explore another aspect of the theatrical trade – theatre management. He applied for a theatrical license. The name of Settle’s Music-hall had become known as Settle’s Public Hall. It was mentioned in a local newspaper announcement in the fall of 1892. On Sept. 24, 1892, The Leeds Mercury announced: “The Public Hall at Settle. Mr. E. Handby has made an application for a license for the Public Hall (late Music-hall), Settle, but he did not appear in support of his application.” Later than month, on September 29, 1892, Handby was granted a theatrical license from the General Purposes Committee of the West Riding County Council for Victoria Hall at Settle. Notice the name change to Victoria Hall. The committee meeting was held at the Clerk of the Peace Offices, Wakefield, and published in The Leeds Mercury on Sept. 30, 1892. In the announcement, “Mr. E. Handley [sic. Handby]” was listed as the manager of the Victoria Hall, Settle (p. 3). Handby was still working as the hall’s manager, and functioning as its main contact, two years later. On March 30, 1894, The Leeds Mercury announced the renewal of Victoria Hall’s theatrical license, again E. Handby was listed as the manager.

Despite his work as a manger and performer, Handby’s primary income stemmed from the decorative arts. He continued to be listed as a painter and decorator until the 1911. The census that year listed Handby as a 61-yrs. old house painter. He was now a widower, living with his 23-yrs. old daughter Annie, and 48 yrs. old niece Margaret Holmes; Margaret was listed as his housekeeper.

Both Edmund and his brother John passed away in 1918. This was the same year that the world was plagued with a pandemic. Edmond died on Feb. 24, 1918.

It was the year after his passing that Victoria Hall became a cinema.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Mike Hume, Grit Eckert and I arrived in Settle on the evening of August 3, 2024. We had driven down from Newcastle-Upon-Tyne that day, stopping in Richmond to visit the Georgian Theatre Royal.

Our visit to Victoria Hall was scheduled for late morning on Sunday, August 4. This meant that we had ample time to explore the area. We took very little time settling into our hotel before heading out to dinner.

Settle is a market town and civil parish in North Yorkshire, England; historically in the West Riding of Yorkshire. As Settle is a very small town, we were able to cover ample ground that evening and the next morning before heading south to Buxton.

There are just a few photos that I want to share before jumping into Victoria Hall and the Act-Drop painted by Edmund Handby. By the way, the music hall very close is to the Railway Station. The line now offers scenic rides between Settle and Carlisle.

The first thing that struck me about Settle was the feeling of community. It may have been the knitted tops that decorated mailboxes or dozens of flowerpot sculptures, but there was an immediate sense of belonging.

We scoped out the location of the music hall. It was the woman who ran the cafe next to the building who would let us in the next morning. The entrance to Miss Victoria’s Refreshment Gardens is a white tent, pitched on the side of the music hall, set back from the road about thirty-five. A sandwich board on the street advertises “Amazing Community Space and Café”.

All the proceeds from Miss Victoria’s fund the theatre.  After purchasing food and drink in the tent, one has the option of entering the “Refreshment Garden.” This is a variety of seating areas in playfully decorated tents with children’s toys strewn about. What a GREAT place to visit, especially with small children. It offers an immediate sense of belonging.

Here are a few more photographs of Settle during our stay.

Here are my favorites flowerpot sculptures.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

A text panel next to the woodland scene notes that “the scenery came from the firm of George Rivers Higgins in Oxford. Higgins created stage sets to order and also kept a stock of scenery for hire.”

This basic information has been cited repeatedly, linking Higgins’ to the later form of Hinkins. Here is what was published at A History of the World :

“The Georgian Theatre (the UK’s oldest working theatre in its original form, built 1788) holds, in its display area, the oldest known theatrical scenery still in existence: the Woodland Scene. The scenery comprises 8 wooden wing flats 9ft 6ins by 3ft 6ins, 5 canvas borders and a Forest back-drop scene 13ft 1in by 10ft 2ins. All trees in the scene can be identified as specific types. On the back is painted a Blue Drawing Room, with Fire, showing a period fireplace, skirting board and panelling and a picture frame over the fireplace. The Woodland scenery was only part of a stock of 5 different scenery pieces which had been in the Hinkins family as far back as 1820. It was painted at a scene painting shop in Royston, Hertfordshire, (previously Cambridgeshire) which was set up in 1811 by a former travelling actor – George Rivers Higgins. How and why the Woodland Scene became detached from the other pieces of Hinkins scenery is not known but it was Richard Southern (a theatre architecture historian instrumental in uncovering the history of the Georgian Theatre in Richmond, North Yorks) who arranged its transfer into the care of the Theatre trustees in 1961.

While trying to track down the origin for this information, I came across the following statement in an article entitled Georgian Richmond  in the theatrecrafts.com archives (https://www.theatrecrafts.com/archive/cue/cue_14_18.pdf

The article noted:

The scenery was included in “that marvelous Hayward Gallery exhibition of 1975 from whose catalogue we glean: In 1818, George Rivers Higgins, an actor and scene painter in a travelling company of players, settled in Royston and founded a decorator’s business. He became a leading light of the local Dramatic Society and was assisted and succeeded in his business by William Hinkins who had been one of His Majesty’s Servants in Norwich. By 1866 the firm of Hinkins had a large stock of stage scenery which was hired out, the nucleus of the stock supposedly being brought to Royston by Higgins in I 818.

 An inventory of 1881 lists five drop scenes, three of which still exist. On the back of “The Woodland Scene” is painted a “Blue Drawing Room with Fire”, panelling and a picture over the fireplace. The flats exhibited were listed in the inventory as eight trees. This set has been frequently retouched in the last one hundred and fifty years and there are even signs that one width of canvas of the three-piece backcloth has been replaced above the second seam. The canvas of the flats appears to be original. Allowing for retouching this is the oldest scenery surviving in Britain.

The woodland scenery is now displayed in a room with a scaled down replica of a Georgian stage and is viewed under ambient lighting.”

The above excerpt was first published in a catalogue (The Hayward Gallery, 21 August to 12 October, 1975) entitled The Georgian Playhouse: Actors, Artists and Architecture, 1730-1830, written by Ian Mackintosh and Geoffrey Ashton. Mackintosh curated and designed the Hayward Gallery exhibition. Both he and David Wilmore worked as historic theatre consultants on the Georgian Theatre Royal restoration. 

By this point, I was fully engaged in the story, and wanting to learn more about the lives and careers of Higgins and Hawkins. Yet, there was precious little available beyond what I have cited above.

I started with a basic Google search before turning to newspaper and genealogy databases. You could have knocked me over with a feather when this popped up: “William Hinkins, aged Thirteen Years. Binds Himself Apprentice to George Rivers Higgins of Royston. Plumber, Glazier, House and Coah Painter. For Seven Years.” The contract was dated 1828.

Timing is everything, and I immediately sent an email to both the Georgian Theatre Royal and David Wilmore (who secured the document). Then, I took a screen shot of the contract and started deciphering the text. Here is my transcription:

This Indenture Winesseth That William Hinkins aged thirteen years and upwards as well of his own free will and consent as by and with the consent and approbation of his Mother Catherine Hinkins of the Parish of Bassingbourn in the County of Cambridge widow, testified by her being a party to and executing these presents –doth put himself Apprentice to George Rivers Higgins of Royston in the County of Hertford of Plumber, Glazier, Coach and House Painter, to learn his Art and with him after the Manner of an Apprentice to serve from the day of the date hereof until the full End and Term of Seven Years from thence next following to be fully complete and ended During which Term the said Apprentice his Master faithfully shall serve his secrets keep his lawful commands everywhere gladly do he shall do no damage to his said Master nor see to be done of others but to his Power shall tell or forthwith give warning to his said Master of the same he shall not waste the Goods of his said Master – nor lend them unlawfully to any he shall not commit fornication nor contract Matrimony within the said Term he shall not play at Cards or Dice Tables for any other unlawful Games whereby his said Master may have any loss with his own goods or others during the said Term with out License of his said Master he shall neither buy nor sell he shall not haunt Taverns or Play houses nor absent himself from his said Master’s service day or night unlawfully But in all things as a faithful Apprentice he shall behave himself towards his said Master and all his during the said Term. And the said George Rivers Higgins doth hereby to himself his executor and administrators Covenant and agree to and with the Catherine Hinkins her executors and administrators and also to and with the said apprentice in consideration of the sum of ten shillings of lawful money of the United Kingdom of Great Britain and Ireland to him in hand paid by the said Catherine Hinkins and of the source of the said apprentice and the Covenant herein after contained on the part of his Mother in manner following (that to say) that the said George Rivers Higgins- his said Aprentice in the Art of a Plumber Glazier Coach and House Painter which he useth by the best means that he can shall teach and Instruct or cause to be taught and instructed Finding unto the said Apprentice Sufficient Meat Drink and Wearing Apparel [Lodging and all other Necessaries was crossed out] during the said Term and the said Catherine Hinkins for her considerations aforesaid doth hereby for herself, her heirs, executors and administrators covenant and agree to and with the said George Rivers Higgins his executors administrators and assigned that shew the Lodging Medical Attendance and all other necessaries whatsoever and save himself and keep indemnified the said George Rivers Higgins his executors and administrators of and from the same And for the true performance of all and every the said Covenants and Agreements either of the said Parties bindeth himself and herself unto the other by these Presents In Witness where the Parties above named to these Indentures [the word interchangeably is crossed out] have put their Hands and Seals the thirty first day of December and in the ninth Year of the Reign of our Sovereign Lord George the Fourth by the Grave of God of the United Kingdom of Great Britain and Ireland King Defender of the Faith in the Year of our Lord One Thousand Eight Hundred and Twenty eight.

[Signed on the bottom right side]

Geo. Rivers Higgins, Caroline Hinkins, William Hinkins

[Fine print on bottom left side: NB. The Indenture Cov’Article or Contract must bear the day it is executed and what Money or other thing is given or Contracted for with the Clerk or Apprentice must be inserted in Words at Length otherwise the Indenture will be void the Master or Mistress forfeit Fifty Pounds and another Penalty & the Apprentice be disabled to follow in the Trade or be made Free]

Well, that certainly linked Higgins to Hinkins who later takes over the business. For years, I have read about art apprenticeships, but never fully considered the legalities; a contract that was negotiated and signed, as well as the similar wording for indentured servitude. We seldom stop to think about the lengthy commitment and restrictions placed on a very young person. All goes well if the “Master” is a good person. It is also easy to see how this type of agreement could become an abusive arrangement. Hawkins was very lucky when his mother apprenticed him to Higgins.

I also want to put the profession of “Plumber, Glazier and Painter” in context. The three trades were frequently combined in early-19^th-century; even appearing as a single category in business directories.

Here is George Rivers Higgins listed in Pigot’s Directory  for 1830:

Side note: I have also found the names of several women who were identified with this trade!

In regard to the 1830 Pigot’s Directory  listing, however,  George Rivers Higgins and James Hawkins were working together that year (see above image). Both were listed in the “Painters, Plumbers and Glaziers” living on High Street. Hawkins had previously worked in Gloucestershire, Wales, and was listed in the “Painters, Plumbers & Glaziers” section of the 1822 directory for that area. Hawkins was still working in Royston in 1840, when his shop burned to the ground (Cambridge Weekly News 18 July 1840 p. 4).

Like me, you may be interested in the whole plumber-aspect of Higgins’ trade. When I first saw the word plumber in the apprenticeship agreement, my interest was peaked. I thought back to the responsibilities of a nineteenth-century barber, like pulling teeth and conducting surgeries.

A plumber’s trade is described in numerous nineteenth-century manuals, all identifying the tradesmen as individuals who were responsible for the casting and working of lead.  Here is an 1806 illustration of a plumber from The Book of Trades, or Library of Useful Arts, Volume 1. This illustration and a few other interestingly tidbits can be were included in The Plumber’s Craft in Past Times

The grouping of plumber, painting and glazier now made much more sense to me, as all three fell within the realm if chemistry. Also, painters and paint manufacturers handled great quantities of lead for many projects. I have frequently come across nineteenth-century scenic artists who got their start as a chemist or druggist.

This combination of trades that overlap also speaks to a diversification of skills to maintain and adequate workload. Even now, stability of employment can be based on a diversity of skill. This was key to the successful careers of many 19th and 20th century scenic artists.

In my mind, I could easily understand why Catherine Hinkins (1786-1875) apprenticed her 13-yrs.old son William to George Rivers Higgins. For further context, in 1828 Catherine was also at a turning point, having lrecently become a widow. On Sept. 5, 1827, Joseph Hinkins (b. 1789) passed away, leaving Catherine with three children to raise (William, Elizabeth and Lydia). I found baptismal records for each, but there may have been more children.

Back to the story…at 13 yrs. old, William Hinkins was apprenticed to 38 yrs. old George Rivers Higgins.

When all was said and done, Catherine made a good choice; Higgins was beloved by the community in Royston. Here is what the Amateur Musical Society published in local newspapers when Higgins passed away in 1861:

His love of art was unbounded; his generosity was ever active; and his influence for good in the noble cause of music was exercised and felt in Royston during a period approaching half a century.

This also suggests that Higgins moved to Royston sometime after 1811, as he had not quite reached the 50 years mark as a citizen. As far as William Hinkins was concerned…

In 1835, William completed his apprenticeship, continuing to work for Higgins for at least the next eight years.  In 1843, Hinkins married  Maria Howard (1813-1888) in Royston on October 26, 1843. The couple raised at least five children between 1848 and (William Howard, Louisa L., Clara Maria, Francis Robert, and Jane A.).

William Hinkins, Sr. became “heir apparent” to Higgin’s business, with his two sons, William Howard Hinkins and Francis R. Hinkins following in his footsteps. Hinkins ran a thriving business, and by 1871 was employing fifteen men and two boys. So who was George Rivers Higgins?

Here is what I have tracked down about his life and career…

George Rivers Higgins was the son of George Higgins and Harriot Annett. His parents were married at St. James Westminster, Piccadilly, London, on April 24, 1783. On March 7, 1786, they celebrated the birth of their first child – Mary Higgins. On January 2, 1889, the celebrated the birth of Sarah D. Higgins, with George Jr. Higgins arriving on 23 May, 1790. All three baptisms were registered at St. George, Hanover Square, in London.

George Higgins, Sr., worked as a chemist (druggist) in London. This makes so much sense in terms of why George Rivers HIggins became a plumber, painter and glazier. The chemist/druggist trade that was intimately linked to paint production in the 18^th, 19^th, and even early 20^th, centuries.

Here is just one example to illustrate my point – a charming letterhead from Philadelphia, Pennsylvania, c. 1901.

Painting has always been closely connected with chemistry. Whether it was in the actual creation of a paint, or how certain colors interacted, artists must intimately understand what they are handling, or their paintings fail over time.

Chemistry meant that the paint industry often partnered with other trades, even undertaking. Here is a photograph that has always makes me chuckle – decorative painting and funeral supplies.

Both trades used many of the same chemicals.

Now, I have spent quite a bit of time going down one particular rabbit hole that concerns the life and career of George Higgins Sr. Maybe a little too much time…

I have looked as various individuals with the name, cross-checking the locations and dates. I think that his father was one of four London Correspondence Society (LCS) members charged in a plot to assassinate the King. The plan to shoot the King in the neck with a poisoned dart, thus becoming known as the Pop-Gun Plot.

George Higgins (Sr.), Paul Thomas LeMaitre, John Smith and Thomas Upton were arrested in the fall of 1794. Robert Thomas Crossfield was arrested the following summer. Although LeMaitre, Smith and Higgins spent time in Newgate prison, there was insufficient evidence to convict… and… the chief witness was dead.

George Higgins (Sr.) was acquitted in May 1796. Here is a recent article about the event published on May 11, 2024 to Past Tense: https://pasttense.co.uk/2024/05/11/today-in-london-spycops-history-1796-popgun-assassination-plot-frameup-defendants-acquitted/

The dates of the Pop-gun Plot match the George Rivers Higgins family timeline, including their move tp the country. Later in 1796, newspaper articles referred to Higgins Sr. as “George Higgins, late of London.” Now this also may have been the reason why George Higgins, Jr. consistently used his middle name, going by George Rivers Higgins and G. Rivers Higgins throughout his career.

Previous historians suggest that George Higgins Jr. joined up with a theatrical touring group, settling in Royston about 1811. The earliest mention in local newspapers that I have come across is his marriage announcement from eight years later. On Oct. 13, 1819, Higgins married Ann Smith (b. 1796). Their marriage was announced in local papers, listing the couple as “Mr. George Rivers Higgins, painter, of Royston, to Miss Smith of the same place.”

Other than directory listings and census reports, George Rivers Higgins’ name seldom made news. However, the year before he accepted William Hinkins as an apprentice, Higgins placed the following advertisement in The Cambridge and Hertford Independent Press (19 May 1827):

To Plumbers, Painters and Glaziers. Wanted, in a constant place of work, a steady Man who thoroughly understands the above three branches. Apply if by letter (post-paid) to G. R. Higgins, Royston, Herts. A Reference will be Required.

Higgins was consistently listed in Pigot’s Directory for Cambridgeshire (Royston), often one of four or more individuals listed in the “Painters, Plumbers, and Glaziers” section.

Census reports list George and Ann as a childless couple in Royston. Although they did not celebrate the birth of their own children, George Rovers Higgins was cherished by his wife’s family. Ann’s older brother, George Smith (1791-1869), even named his second son Rivers Richard Smith (b. 1841). His first son was named George Smith. The two families remained extremely close over the years, and it was Rivers R. Smith who settled Ann Higgin’s estate upon her passing. Rivers Smith followed his own father’s footsteps, working as a Wine and Seed Merchant in Royston.

George Rivers Higgins was quite active in Royston’s Mechanic’s Institute too. On Dec. 10, 1842, the Hertfordshire Mercury reported:

Royston Mechanic’s Institute – A very interesting lecture on the varieties of the human race was delivered at the British School-room, on Wednesday last by R. G. Latham, Esq., A. M., Fellow of King’s College, Cambridge, and Professor of English literature, in University College, London. After a lucid description of the physical peculiarities which distinguished the different tribes f our species from each other, as displayed in the varied conformation of the skull, the colour of the skin and eyes, the nature of the hair, &c. Mr. Latham gave an eloquent and highly interesting sketch of the origin, the geographical position, the history, the language, the intellectual progress and discoveries, the present state, and probably future political destiny of the great classes of mankind. The lecture was illustrated by a series of beautiful designs representing the most striking varieties of the form of the skull, together with characteristic portraits of individuals belonging to some of those tribes least known to the audience, as the North American Indian, the Malay, &c. These drawings were gratuitously executed expressly for the lecture by one of the members of the Royston Mechanics Institute, Mr. George Rivers Higgins, to whose talent and liberality they do equal credit.

In 1851 Census, Higgins listed that he employed two men and two boys. At the time, he was 61 yrs. old, and doing quite well; successful enough to employ two servants in his home.

In 1855, the Post Office Directory still listed him as a plumber, painter and glazier, situated in the same home/work address on High Street. He passed away six years later, just before the census was taken. The 1861 Census listed Ann Higgins living along with a cook and servant. She died three years later.

When George Rivers Higgins passed on Jan. 27, 1861, he left an estate valued under £1500. The English & Wales National Probate Calendar listed, “The will of George Rivers Higgins, later of Royston in the County of Hertford. Coach and House Painter deceased who died 27 January 1861 at Royston aforesaid was proved at the Principal Registry by the oath of Ann Higgins of Royston aforesaid Widow the relict the sole Executrix.”

Ann didn’t outlive her husband by much, passing away three years later. On Feb. 20, 1864, the Cambridge Weekly News reported, “Higgins – Feb 17, at Royston, after many years suffering, borne with exemplary patience and resignation, Ann, widow of the late George Rivers Higgins, in her 73^rd year.”

Her listing in the National Probate Calender reported:

March 10, 1864. The Will with a Codicil of Ann Higgins late of Royston in the County of Hertford. Widow deceased who died 17 February 1864 at Royston aforesaid was proved at the Principal Registry by the oaths of Rivers Richard Smith of Royston aforesaid Wine and Seed Merchant, the Nephew and Spicer Crowe of the Town and Country of Cambridge Gentleman the Executors. Effects under £800.

George Rivers Higgins’ name was mentioned again when their property sold in 1870. On Jan. 22, the Cambridge Weekly News announced:

Royston, Herts. Messrs. Nash & Son are instructed by the Proprietor to SELL BY AUCTION, on Wednesday, 26^th January, 1870, at the Bull Inn, Royston at 4 for 5 o’clock. Those very Eligible Freehold Business Premises, situate in the High-street, Royston, in which the Painter’s, Plumber’s, and Decorator’s business was for many years carried on by the late George Rivers Higgins, comprising Front Shop, with double show windows; dining-room and kitchen offices, paved court-yard, with passage entrance on the ground floor; good cellarage on the basement; dining-room, with bow window, 4 bedrooms, W. C., paint-shop, and office on the upper floors. May be viewed on application to the tenant, Mr. William Hinkins. Particulars and conditions of sale may be had at the place of sale; Mr. Henry Baker, Solicitor, Bishop Stortrord, and the Auctioneers, at Royston and Buntingford, where plans of the property may be seen.

This paints a pretty good picture of Higgin’s home and workplace. It also brings William Hinkins back into the picture as he was the current tenant.

Between the 1861 and 1871 census reports note that Hinkins painting business grew. It expanded from employing two men and two boys in 1861 to employing fifteen men and two boys in 1871. This is quite an expansion of staff. His success, however, was very short-lived.

William Hinkins passed away on Sept. 11, 1878. He is buried with his wife and daughter in the Royston Cemetery.

William’s two sons, William Howard Hinkins and Francis Robert Hinkins, inherited their fathers Plumbers, Painters, and House Decorators business. In 1881, the staff consisted of seven men and two boys. Hinkins legacy continued, as his grandsons also continued the family trade.

The story doesn’t end here, but this is my stopping point.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

On Saturday afternoon Mike Hume, Grit Eckert, and I had an afternoon appointment at the Georgian Theatre Royal in Richmond, England.

Prior to our visit, I watched The Georgia Theatre Experience to familiarize myself with the venue.

Built by actor-manger Samuel Butler in 1788, the building is nestled near the center of Richmond. A small alleyway leads from the town square to the stage door.

Like many historic playhouses, time took its toll on the building with areas becoming derelict over the years. Fortunately, the theatre was restored, reopening in 1963. A museum was later added in 1979.

Here are a few photographs of the building from our visit. That being said, when Mike finishes his write-up about this building, and posts it to Mike Hume’s Historic Theatre Photography there will be a link HERE.

After exploring the stage, we went below to see remnants of old stage machinery on display and the dressing room area.

Anna Bridgeman, Heritage and Administration Manager at the theater, gave us a private tour of the building, museum, and archives. She was an absolute delight to have as a tour guide!

The main purpose of our visit was to see the woodland scene. It purported to be “Britain’s oldest surviving stage scenery” by George Rivers Higgins, c. 1836.

Recently, The British Museum and BBC published the following in an online article:

The Georgian Theatre (the UK’s oldest working theatre in its original form, built 1788) holds, in its display area, the oldest known theatrical scenery still in existence: the Woodland Scene. The scenery comprises 8 wooden wing flats 9ft 6ins by 3ft 6ins, 5 canvas borders and a Forest back-drop scene 13ft 1in by 10ft 2ins. All trees in the scene can be identified as specific types. On the back is painted a Blue Drawing Room, with Fire, showing a period fireplace, skirting board and paneling and a picture frame over the fireplace. The Woodland scenery was only part of a stock of 5 different scenery pieces which had been in the Hinkins family as far back as 1820. It was painted at a scene painting shop in Royston, Hertfordshire, (previously Cambridgeshire) which was set up in 1811 by a former travelling actor – George Rivers Higgins. How and why the Woodland Scene became detached from the other pieces of Hinkins scenery is not known but it was Richard Southern (a theatre architecture historian instrumental in uncovering the history of the Georgian Theatre in Richmond, North Yorks) who arranged its transfer into the care of the Theatre trustees in 1961.

Today’s post solely focuses on a portion of the three scenic pieces currently on display. Here is a link to see the scenery in its entirety before it was removed from the stage area, preserved, and stored.

Only the woodland backdrop and two double-painted wings remain on display in the basement of the Georgian Theatre Royal. They are all well-lit and encased in glass cabinets. This makes it easy for visitors to examine without threat of harm, but difficult to photograph as a scene.

I am not going to address the conservation team’s historical analysis of the scenery or the preservation. All of the reports were shared with us during our visit and I have spent hours contemplating the final conservation process.

I am going to share my own thoughts on the manufacture and the artist who is credited with the work. By the way, my next post will solely look at the life and career of George Rivers Higgins. Higgins is credited with the woodland scene.

The backside of woodland wings is painted with two different interior settings, This was a common practice throughout the 19^th century. The interior subjects would have been labeled a plain chamber (SL) and a parlor interior (SR).

These themes were two standard stock scenes for nineteenth-century stages in English and American theaters. Whether for small halls or large opera houses, stock scenery was purchased when a stage was constructed or renovated. Stock scenes offered standard settings used in many productions.

This practice continued throughout the 19^th century and well into the 20^th century. Here is an example of stock scenery offerings from 1889:

Double-painted wings are not an anomaly. I have documented dozens in North American. Here is an example from the Tabor Opera House in Leadville, Colorado, c. 1879.

Double-painted wings makes complete sense, especially from a financial perspective. It was a practical way to conserve stage space while offering more options for productions.

The back side of a wing wasn’t always covered with cloth before painting the second composition. In some cases, the frame remained entirely visible under a coat of paint. Here is another example from the Tabor Opera House in, Leadville, Colorado.

This remained a standard practice into the early-twentieth century, especially for interior sets.

We were fortunate to have Anna open the display case opened at the Georgian Theatre Royal, and provide me with a stepladder. This meant that I could examine scenic art details. 

Without this type of access, I could have never identified a hidden composition. Upon close inspection (and without the glare of the glass) remnants from an earlier interior painting (on the backside of the woodland wings) was clearly visible.

As in many cases, the actual wing fabric and frame predate the current painted composition. Again, this could be work of two entirely different artists.

The build-up of paint on the fabric suggests also suggests multiple layers, not just two compositions.

The underpainting suggests that the previous painted composition included an onstage column, perched atop a base; the column and base emulating a type of granite.

I have identified underpainting on extant scenery before; no special machinery required, just a keen eye and photoshop.

When examining a grayscale image of the painted details and playing with contrast, numerous details suddenly become visible. Here is a quick example with white lines (in the right image) to show an underlying composition.

Here is an 19th century example of what the underlying composition could have looked like.

Keep in mind, that it was a common practice to touch-up, re-paint, and physically alter stock scenes (both framed pieces and soft goods).

In many cases used/old scenery was taken back on as credit for the purchase of new scenery. The used scenery was then enlarged and/or refurbished for another venue.

I noticed that the woodland backdrop has fabric extensions on both the top and the sides, suggesting that it was enlarged before a the artist painted the woodland scene.

Even when historic records suggest that an original piece of scenery was painted by a specific individual, the entire scene may have been refurbished/repainted by another artist (local, or visiting) at a later date. Stage managers frequently directed artists to refresh the painting when scenes began to show some wear (about every 5-10 years). 

So the woodland scene may have been originally painted delivered as a landscape, but the top painting concealed much of the original artist’s work. This makes it extremely difficult to date and/or determine the actual creator without a signature – UNLESS there is a paper trail that clearly notes who refurbished the scenery during a specific period.

Only ONCE, have I been able to track down a newspaper article that mentioned a specific artist painting new scenes on existing stock flats (ones that still existed). This was at the Tabor Opera House in 1888 when Frank Cox painted new scenes on the original shutter frames, dating from 1879.

While examining the shutters by Cox and the wings by Higgins, I was struck by their similarity. The two sets of Cox shutters are very similar in compositional layout to the woodland scene at the Georgian Theatre Royal. Here is a detail of from Higgins’ painting with a similar trunk to compare with that by Cox above.

There is something about the 1836 date for the woodland scene that doesn’t sit right with me, making me wonder when the last coat of paint was actually applied.

There is no doubt that the framework and fabric were manufactured in the early 19th century, but I wonder about the final painting. It is now very difficult to judge, as the sealer used during conservation work (for paint consolidation) adds a slight sheen to the entire composition. Therefore, we cannot tell if the underlying interior composition (the one with red and green spatter) is a different type of paint.

Yet the underpainting remains very exciting. Upon close inspection, one can clearly see the earlier scene; one with spattered pink stone columns and brown wood moulding. What I find remarkable is the use of spatter – red, green and ivory dots. This is the first time that I have encountered this type of spatter (warm and cool) on a nineteenth-century scene. I could write SO much more about this, but am going to stop here.

Below are a few more painted details from my visited to the Georgian Theatre Royal.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

This post is going to be about our journey to Settle, not the destination. I want to devote an entire post to the gorgeous drive.

My next post will be about our first theatre, visited on Saturday, August 3– the Georgian Theatre Royal in Richmond.

On August 3, 2024, Mike Hume, Grit Eckert, and I traveled from Newcastle-upon-Tyne to Settle by car.  Mike had rented the car, as he recognized that some of the theaters would be a nightmare to reach by rail. Good call on his part.

I am thankful that Mike was the driver and Grit was the navigator. This meant that I could drift in an out of conversations while taking pictures for future paintings.

When Minnesota skies turn gloomy and snow coats the ground, I revisit sunny locales with my paint brush.

August 3 was my first real vacation day in a long time. It was a much needed break from the constant stream of projects that plagued me back home. Spring and Summers have become especially busy times for me. I love my job, but I am constantly on the go. It’s a bit ironic that my most relaxing day would end up being a road trip.

Partially cloudy skies accentuated colorful hills divided with stone walls. Wherever we looked, the landscape was and dotted with sheep.

We slowly made our way to Settle, an estimated 2 ½ hrs. away. Initially zipping down the road, we caught a glimpse of the renowned Angel of the North.

Soon we ventured off the beaten path onto desolate country roads. It was a beautiful day for a relatively-short drive. This allowed us enough time to visit Durham before our afternoon appointment at the Georgian Theatre Royal in Richmond. After a quick snack of Haggis Scotch Eggs and Irn Bru, we were ready for sightseeing!

With no real plan, we walked to the biggest landmark – the Cathedral Church of Christ, Blessed Mary the Virgin and St. Cuthbert of Durham. 

Unbeknownst to me, the attached Cloisters are a popular filming location. Two Harry Potters films and Avengers: Endgame used this as a filming location. What a surprise!

After the cathedral, we wandered about town before heading back to the car park, then continuing on to Richmond.  

The Roads narrowed as we heading south, slowing our journey to a snail’s pace. They soon became one-lane obstacle courses. 

At Richmond, we had ample time to explore the town after our appointment at the Georgian Theatre Royal (the subject of my next post). We passed the Richmond Castle on our way to the theatre, a breathtaking sight in the afternoon light.

The late-afternoon drive from Richmond to Settle was spectacular. The one-lane roads were certainly a challenge to our fearless driver, but the landscape was magical. Here are a few of my favorite scenes; source material for future paintings this winter.

We finally made it to Settle, with time to walk about town before enjoying a lovely dinner at our hotel.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

My week at the Tyne Theatre & Opera House in Newcastle-upon-Tyne, England, culminated with a conference on Friday, August 2, 2024. “Theatrical Scene Painting in the 19^th Century: The Artist and the Picture Frame” was the second theatre conference held at the venue.

The first conference occurred less than a year before (Sept. 13-15, 2023), with 120 delegates attending from the UK, Europe, Canada, and the United States.

Both events were organized by David Wilmore of Theatresearch and Rachel Snape, Heritage & Development Project Manager at the Tyne Theatre & Opera House. This year, the entire conference took place upon the stage, with delegates facing the auditorium. An Act Drop was hung (in reverse, facing the upstage wall), to set the stage for the delegates. The painting was from the brush of Deborah Mitchell in 1997, replicating an earlier curtain painted by Ernest Howard for the Royal Theatre Opera House, Northampton, 1896.

The morning panel featured three papers.  

Raymond Walker (left) explored the visual aspects of Victorian scenery and how it evolved during the 20^th century. Dr. David Wilmore (center) explored the original portraits for Gilbert & Sullivan’s “Ruddygore”, now on display at a private theatre (Normansfield). Karen Thompson (right) examined the Normansfield Scenery Collection and its conservation.

After lunch we were invited back to the stage for a stage machinery demonstration. The sloats in the stage cuts supported three of the eight ground rows I painted for the venue. The previous evening David Wilmore and Colin Hopkins (Project Site Manager & Stage Carpenter) led a crew to install the ground rows.

The afternoon panel in my presentation, “Scenic Art, Past & Present”,  Grit Eckert’s presentation “We are still here!!! Scene Painting – a Historical Study and still a Theatrical Trade”, and Prof. Christina Young’s “19^th Century Scottish Scenic Painters: Paint Frame to Picture Frame”.

As promised to those who could not attend the conference, here is my Powerpoint with text:

My name is Wendy Waszut-Barrett and I come to you as a theatre historian, scenery preservation specialist, scenic designer, and – most importantly – scenic artist. My presentation will look in detail at the paint medium used by 19^th century scenic artists and its capabilities. Then I will explain how I became so passionate about the history of scenic art and how both past and present research has altered my understanding of theatre history.

Each aspect of my career creates a lens through which I view theatre history. For me, the phrase, “Preserving the Past” goes far beyond the conservation of historic artifacts; it also applies to the preserving the theatrical trades.

Although many scene painting techniques remain well-documented in various publications and memoirs, much has been lost from contemporary application – more specifically, the institutional memory in most scenic studios. I am going to shed some light on nineteenth-century scene painting practices. Understanding the nuances of the distemper painting system helps us appreciate the metamorphic nature of stage settings created by 19th- and early-20th-century scenic artists.

Distemper paint solely consists of two ingredients: color (dry pigment paste) and binder (cooked and diluted hide glue). It really is an amazing artistic medium. In dry form, both pigment and glue can be stored for decades, weathering a wide range of temperatures. There is also no waste during the painting process, as dried piles of pigment paste on a can be quickly reconstituted with water.”

In 1903, American scenic artist, Grace Wishaar (pictured on the left) explained “Distemper is a really beautiful medium. You can produce such fine effects with it! But it’s very tricky unless you know JUST how to handle it.”

Over a decade later, her colleague Frank Atkinson wrote the following statement about distemper paint in his scene painting manual “.. distemper colors change greatly in value as they dry out…the student must not let a few failures discourage him. True ‘color deductions’ will come with experience.”

In 1924, Joseph Harker described distemper paint in his publication “Studio and Stage” as ”a peculiarly difficult medium to handle” explaining “In some instances the color, when applied, dries several degrees lighter in tone than it was originally, while in others remains unaltered. Considerable skill, if I may put is so baldly, is therefore needed in the direct painting with this medium and no fixed rules can be laid down for overcoming the characteristics I have mentioned. Long and pain staking experience is alone capable of solving each fresh color problem as it arises.” For over 35 years, I have been challenged with each distemper painting project. That being said, there is no other paint I would rather use for stage settings.

Every time I pick up a brush and paint a backdrop, I become part of the scenic art timeline, continuing the legacy of those who came before me.  I still prefer painting stage scenery with distemper paint. Nothing feels quite so pure to handle, or reflects stage lights quite so well.

Let’s look at how the paint was prepared. Pigment arrived at the scenic studio in three forms – dry powder, compressed block, or wet pulp. Blocks of dry color necessitated grinding prior to their transformation into a paste.

Pigment paste was placed on a scenic artists palette and mixed with diluted hide glue, also called “size water” or “working size” or just size – hence some artists referring to this as “size painting.”  Both color and binder necessitated careful preparation, the tasks completed by skilled individuals. In larger studios, “Color men” supervised preparation and distribution of colors, as ill-prepared pigment paste (pigment granules that weren’t fully dissolved) could compromise an entire composition.”

Making size from hide glue was also a skilled task, each batch affected by heat and humidity. Water is added to dry hide-glue granules, or a slab, and slowly-cooked to a honey-like consistency, then diluted with water.

Here is an example of a scenic artist’s palette, filled with bowls of pigment paste, and a size warmer below. The pigment paste and size water were mixed together on the large palette, then immediately applied to the fabric. The preparation of pigment paste, cooking of size, and set-up of a palette takes time. However, the actual distemper painting process makes up for any lost time in the set-up. 

As presented in my paper last year, there were two prominent scenic art traditions at play in 19^th century; each defined by the viscosity (or thickness) of paint and its application. There was the use of transparent glazes (depicted in the left images) and opaque washes (depicted in the right).

Distemper was applied to scenery in two ways – “up” on a vertical frame or “down” on the floor. Both versions were transported to the United States, and referred to as “English” method (for up) and the “Continental” method (for down). Painting a drop that was tacked to the floor require long handles, or bamboo poles that extended the handle of a brush. Tacking backdrops to vertical frames often meant that either the frame or bridge upon which the artist stood on was movable.

Where do I fall within the framework of scenic art history? I am a hybrid. I was trained in the Midwestern United States using distemper paints (in the form of opaque washes) on a motorized frame at University. However, as a freelance scenic artist, pre-mixed paints and the continental method (floor) were preferred.

This is the motorized paint frame that I use in the States. My past eight shows have featured distemper settings.

Distemper paint and vertical paint frames were made for each other. As distemper paint permeates each underlying layer, drips are not an issue, even when the viscosity looks like milk. Distemper paint permeated the underlying layer, so even a drip will soon reabsorb into the fabric.  Some contemporary (pre-mixed) color may reactivate, but not to the same extent as distemper paint – there is more of a layering effect which will cause pre-mixed paints to run.

From a paint process standpoint, a motorized paint frame allows the artists to quickly and accurately lay in vertical lines without a straightedge. It is an extremely quick way to paint lines.

Which means that painting vertical drapery folds is extremely effective, as you can play with the viscosity of paint for translucent effects.

Here is a view from the back of the frame, to show how thinly the paint is applied to the muslin.

Backlit with a simple white light, muslin painted with distemper can take on the appearance of glowing silk.

Here are three of the distemper palettes that I use while painting scenery, all ranging in size for the scale of the project. I have tweaked the traditional methods to use large baking pans – easier clean-up.

Regardless of what type of paint is used for stage settings, scenic art is more. It is a way of seeing and applying color.

That being said, distemper paint is the easiest was to teach color theory and scenic illusion for the stage.

The success of scenic illusion for the stage is understanding the nuance of each color, strategic color combinations, and economy of brush stroke.

I want to get us all on the same page in terms of color, as painted illusion necessitates the alternation of warm and cool colors.  The three primary colors are yellow, red, and blue. Each primary and secondary color also has a characteristic – warm or cool.

The easiest example to see warm versus cool is yellow. I don’t want to get caught up in any specific color name – as they are dependent on suppliers. On the left is a warm yellow, and on the right is a cool yellow. 

Of supreme importance in painting is the true understanding of value – going from light to dark. The success of painted illusion is based on the contrast of value

Scenic artists paint for a distance. This means that their artwork is intended to be viewed from afar – any careful blending will make a painted composition appear “fuzzy” from a distance. That is why a scenic artist contracts both value and hue. The audience’s eye needs to work, so the scene will appear more dimensional and realistic. When you examine the painting close-up, it all falls apart into dashes and dabs – an economy of brushstroke.

There is a rule of three for value selection – light, medium and dark, to work up any object. This contrast applies to foliage, architecture, drapery painting, etc. making the painted details remain visible at a distance.

Light, medium and dark values also alternate warm and cool colors. For example, the dark base is predominantly cool, the mid-tone warm, and the highlight cool.

Even when applying the same value, some compositions – such as foliage- with place warm and cool colors next to one another. This helps give definition to the shape. This strategic color placement helps reflect stage light and accentuate painted details, providing dimensions.

Here is a drapery example (on your left) of over blending, painting that shows a lack of contrast in both value and color. It can make the subject look fuzzy from a distance. The drapery painting on the right shows the contrast of value and color; draperies that will have definition when viewed from a distance.

And if we take color out of the composition, we can still see the difference and need for contrast with value for an object to remain visible from afar.

Many 19^th-century, and early-20^th-century, scenic artists were visionaries, They fully understood how painted illusion was supported with stage machinery and lighting.  Pause – Scenic art is an interactive art form, partnering with various stage lighting systems.

Scenic artists understood the characteristics of various lighting systems, adjusting the color and value accordingly. Here is an example of scenery produced for electric light – blue, red and white, a popular combination from the 1890s to 1920s.

This all goes back to the color selection and application of distemper paint. The use of a warm and cool consistently creates a color that will reflect stage lights. Strategic color combinations increase the opportunities to reflect light – supporting day to night transitions on stage. So if you have a blue sky, you always make sure there is a small amount of warmth added (orange, red, etc.).

It was through documenting and preserving historic scenes that I realized so many backdrops could function as translucencies.

Here is an example from 1902. You can see hoe the view from behind the drop (on your right) reveals how little color was applied to the fabric.

This practice continued into the 1920s, despite stylistic changes.

Here is another comparison with a view from the front and from behind – to show how thin the paint is applied to the fabric. Those white areas on the left are stage lights shining through the fabric.

Here is a distemper detail that I painted for a Haymarket Opera Company production in Chicago, Illinois –  L’amant anonyme by the Chevalier de St. George. I firmly believe that the key to distemper painting is how little pigment is used and the body of the paint – whether it is dense or flowing.  Very thin paint, or low viscosity, will appear opaque with front lighting, but will remain extremely flexible.  That is how I was able to pack eight 27’ ground rows, ranging in high from 30 to 60 inches in a standard suitcase. Although the scene appears quite opaque, there is very little pigment applied to the fabric. When you stand behind the scenes you recognize how thin each layer of paint was applied.

Another painted detail from the same show. In many cases, we have forgotten how much we can do with any ordinary white light source placed behind a distemper drop. And this has to do with the viscosity and layering of colors. The image on the left shows a section of distemper drop under work lights. The image on the right is the same painting, but with a standard white lamp behind the painting.  Underlying colors are revealed –  transitioning the entire palette without the necessity of colored light. No glass or gels. Again, this is the metamorphic nature of distemper paint that supported 19^th century scenic illusion and spectacle.

Another detail with a gelled incandescent on the right. This is more of what we are used to. But when we combine colored front lights and illumination from the backside – possibilities are endless and the whole scene glows.

Another example of a translucency – one created with distemper paint – not dye; one that we are more familiar with in contemporary effects. This one shows how a sky can transition to sunset without the use of dyes.

Many audiences have never experienced the magical allure and metamorphic nature of distemper settings on stage.

This beauty, however, can instantaneously be destroyed with poor lighting.

When lit poorly, painted legacies from our past resemble dull-colored and thread-bare rags at best. Side light will especially accentuate wrinkles. Front light erases wrinkles in an instant.

In some cases, however, seeing is believing. Here is an 11-second video showing the transition from side light to front light.

This is nothing fancy, just a shift in direction. Keep this in mind the next time you encounter a deteriorated backdrop, because with proper lighting, some of the most damaged scenes can look fresh.

So why am I so passionate about the history of scenic art? It all started in college. As I took one scene painting class after another in college (same distemper painting class, different levels), I repeatedly queried my professor about early women scenic artists.  His response – “They were all boys, get over it.” This was not a subjective statement, or one intending to put me in my place. My teacher was teaching what he had been taught.  His statement, however, really lit a flame inside me. I decided to learn everything I could about scenic art, the people, and the processes.

Part of this quest involved extracurricular studies and museum exhibits. In 1989, I received an Undergraduate Research Opportunities Program (UROP) grant to process an historic scenery collection – the Great Western Stage Equipment Company, established in Kansas City, Missouri, ca. 1920s. I worked in the Performing Arts Archives, part of the University of Minnesota archives. This UROP grant was followed by another – Holak Collection. The second collection contained designs from two primary firms – the Chicago-based studio of Sosman & Landis Studio and their affiliate studio New York Studios.

The acquisition of these collections, spearheaded by my mentor, Prof. Emeritus Lance Brockman, was contingent upon their open access and use by students. Copy work was critical to his scenic art program.  This meant that University students could request a design, set up their watercolor palette, and replicate the composition in the reading room. In addition to copying historic designs, I enlarged them on 5’ x 5’ flats – using traditional materials and exploring painting techniques. His future hope was to digitize the collection so that theatre students, academic colleagues, and professionals would have free access to all of these materials.

From 1999-2000, I worked with these two collections, and a previous, the Twin City Scenic Co. Collection, Minneapolis, MN, to create an online digital database. I was in charge of layout, contents, text, content and assigning metadata to over 3000 artifacts.

I still return to the collection, examining details of many designs. This project has continued to inform my own research.

Assigning meta data, replicating designs, and preserving historic stage scenes have all helped me make a series of immediate connections while working on site. It is my continued work with these collections over 35 years has allowed me to immediately locate many original designs for extant curtains. For example, when I unrolled a drop curtain at the Theatre Museum of Repertoire Americana in Mount Pleasant, Iowa, last January I remembered that the design was part of the Twin City Scenic Collection in the database, and quickly located the file in the scenery database.

For me, the past continues to informed my present, as a theatre historian, scenic designer, and artist. I still have that fire burning, a drive to learn all I can, while I can.

Such was the case when I catalogued and repaired the scenery collection at a 1912 Theatre in Santa Fe, New Mexico. From 2002-2005, I led a crew of eighteen local hires to preserve this 74 drops over the course of three years. I was also leading the preservation of a sister collection in St. Paul, Minnesota – same design, same scenic studio, but installed in 1911.

From 2016-2018, I worked with photographer and one-time scenic artist, Jo Whaley, on the publication “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre.” Jo and I were the volume editors; I was also one of three contributing authors.

We were granted permission to photograph all of the scenes with original costumes and properties. Again, these were scenic designs that I first encountered in 1990 while processing the Holak collection. The descriptions, installations, sizes, signatures were all engrained in my memory.

This is one of the reasons that I am so adamant to share my research, to help jog the memories of others, whether they be theaters owners, back stage crews, or the descendants of scenic artists and designers; many historic theaters do not understand that they are part of a much larger network. It also re-frames our understanding about scenic artists, painting process, and liberties taken from design to installation.

I am going to conclude with a topic that I introduced last year during the conference, English Scenic artist Harley Merry, aka Ebeneezer Brittain. He worked as a performer and scenic artist, emigrating to the United States in the late 1860s. I bring Merry to your attention, as it brings another aspect of the scenic art trade into focus. After moving to America, Merry was integral in organizing serval groups, including the Protective Alliance of Scene Painters in America.

This organization became the current scenic art union known as United Scenic Artists. Recently, the Union produced a video about their history, still listing these men as… 

There is no doubt that each was skilled, but this group does not comprise the best that America had to offer at the time.

They only represent a small number of scenic artists working in a few specific regions. The picture is very telling, especially when you start realize those nationally-renowned scenic artists missing from the picture.

For me, these men represent those who had…

…the most to lose without establishing a protective alliance and keeping OTHER scenic artists out.

Artists like Mabel Buell. It was not until 1918 that women were allowed to join the Union – 2 years before women were able to vote. Mabel A. Buell’s late entry makes it appear that women were just beginning to enter the scenic art field; few and far between. This perpetuated misconceptions that the scenic artists were primarily white men.

It’s important to understand that when Mabel joined the Union, she was not only a scenic artist, but also was a scenic studio owner. Both she and her mother worked as scenic artists, as did her father and brother. As in many cases, it was a family affair.

By the way, this is Mable directing her employees (center picture). At times her staff numbered over twenty people.

When Mabel joined the Union, she was described as the “only girl in the profession.” Buell continued to be listed as such in the early 1920s. By this time GENERATIONS of women had worked as scenic artists. Some were wives, some were daughters, some were sisters, and some entered the profession all on their own.

Here are three examples of women scenic artists identified as the “Only” over the course of two decades. On the left is Grace Wishaar, listed as the only woman scenic artist by 1901 She had been painting for over a decade at this point. On the right is Irene Kendrick, listed as the FIRST and ONLY scenic artist in 1909. In the center is Mable Buell – pictured in the 1921; still listed as the only woman scenic artist in America throughout that decade.

Well, that wasn’t necessarily the case – Here are a few names women scenic artists from the mid-19^th to early 20^th century.

Although there are many, many more. These were women who painted stage settings and were listed as such in census reports, city directories, and newspaper accounts. Not all scenic artists were listed as such.

I believe historians try their best to represent the world as it was.  However, at some point, the contributions of generations of artists were left out of theatre history. Aesthetic shifts, new design movements, and innovative technology continue to be credited to a select few.

The use of “ONLY” to describe a female scenic artist in newspapers, sends an underlying message – they are not a threat. After all, there is only one.  The same language was used to describe scenic artists who were people of color.

Over the past few years, I have identified women, indigenous people, and people of color who worked as scenic artists in the 19^th century. Many of these discoveries occurred while writing the 120 biographies of Soman & Landis studios). This research is for my upcoming book, “Sosman & Landis: Shaping the Landscape of American Theatre.” 

Today, online databases provide massive amounts of information about individuals who worked as scenic artists. We are now able to identify thousands of individuals whose contributions to theatre history were either forgotten or ignored.  This means that we are responsible for reframing the history of scenic art and theatre history.

Women and people of color who were often not counted, but they were present, they contributed to our shared theatre industry.

WE can no longer solely teach theatre history from the same books that have been used by generations of students.

WE are completely in control when choosing the lens through which we depict our industry’s past, present, and future of our industry.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

The final day of the Distemper Painting Workshop focused on drapery painting and value. 

The goals for the day were maintaining a consistency of color and contrasting value. As previously explained, a contrast of value supports scenic illusion for the stage (large-scale paintings that are viewed from a distance). Drapery painting is the perfect example to discuss painting for a distance. Typically, the goal of this exercise is to use a thicker mixture of paint, focus on value and aim for a consistency of color.

For years, I have observed that many scenic artists take pains to carefully blend each fold in a drapery composition. Unfortunately, this ultimately destroys the painted illusion from a distance; the subject loses definition. Careful blending only works well when examining a painting from close-up, such as in Trompe l’œil murals in residential and commercial settings. The smallest details and smooth transitions that make Trompe l’œil a success are not visible on stage. Painted illusion for the stage necessitates a great contrast of both hue and value. Again, we want to make the audience eyes work; therefore, making the painted illusion appear more realist from afar. Scenic art is more akin to fresco painting on ceilings; they are also large-scale artworks intended to be viewed from a distance. Throughout my travels, I document the treatment of fabric on figures in ceiling murals. Most recently, I visited the Painted Hall in London. Here is an example of a drapery, showing a sharp division of value and alternation of warm and cool colors (see yesterday’s post for more detail color characteristics).

There is a distinct division of value; a sharp contrast between dark, medium, and light colors. This is what accentuate the folds of the fabric. To illustrate my point about the over-blending of drapery folds, I share two examples.

The scenic artist’s careful blending does not suggest a lack of skill, but a lack of understanding when painting for a distance. Drapery folds really need to be accentuated to remain visible from far away.

Here is how I decipher drapery painting; it is an approach that is based on my documenting thousands of extant backdrops over the years. 

Again, it is the rule of three for value – dark, medium, and light. From a distance, the darkest value suggests the color, a mid-tone identifies the shape, and a highlight identifies the fabric type.

For my presentation, we looked at a variety of drapery examples where I identified the three values, again and again.

This is not meant to suggest that only three colors can be used, but it is the basic approach. In the end, some folds are accentuated with a final shadow wash, and  some highlights get a “flash” (hot twinkle).

Highlights are extremely important in the end. If they are indecisive (“smudgy” and “worm-like”), it is difficult to determine either the type of fabric, or the weight of the folds.  

Here are some photographs, capturing a few moments of the drapery painting project. A special shout to Mike Hume of Historic Theatre Photos for his willingness to document process.

To be continued…