Drop Curtain – Page 8 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 730 – Drop Curtains in Philadelphia, 1894 – William M. Voegtlin, the Standard and Lyceum Theatres

Part 730: Drop Curtains in Philadelphia, 1894 – William M. Voegtlin, the Standard and Lyceum Theatres

Two sections in the article “Well-known Drop Curtains in Philadelphia Theatres” focused on William M. Voegtlin’s scenic art at the Standard Theatre and Lyceum Theatre. The article was published in “The Philadelphia Inquirer on Dec. 18, 1894, page 45.

“Another very pretty curtain is the asbestos drop at the Standard Theatre, the classic design and artistic finish of which is equal to the more pretentious curtains in the other playhouses. It was painted in 1890 by William M. Voegtlin, who died last year. The subject of the scene is called “Cupid in Captivity,” and represents two beautiful women in classic attire standing by a fence in a meadow rich with flowers and surrounded by a number of winged cupids. The scene itself, with its exquisite coloring and artistic finish of detail, forms only a small disc in the centre of the curtain. It is a copy form an original painting of that name, copies of which, in the art stores and on calendars have made it famous on two continents. The remainder of the curtain as originally painted, represented a mass of crimson drapery in imitation of satin and silk, but when, two years later, the house was redecorated, the crimson drapery was changed by Daniel F. Crème to yellow and black, to correspond with the other color effects as they now appear.”

Illustration of asbestos curtain painted for the Standard Theatre by William Voegtlin.

Voegtlin also painted a drop curtain for the Lyceum that was later described in the article:

“The very attractive drop curtain at the Lyceum represents a Venetian scene, in which a goodly company of ladies and gentlemen in rich Florentine costumes are standing on a well-shaded terrace overlooking the greenish blue waters of a placid lake. The scene was painted by William M. Voegtlin in 1890, and occupies a small circle in the centre of a curtain about which is painted a richly carved Viennese frame. This curtain has been much admired by many patrons of this most popular theatre.”

Illustration of asbestos curtain painted by William Voegtlin for the Lyceum Theatre

The Voegtlins were a famous family of scenic artists. The patriarch, William Voegtlin was born in Basle, Switzerland in 1835. He immigrated to the United States at the age of 15, settling in New Orleans where he began painting first scenery. Voegtlin quickly ascended to the top of his profession. By 1879 he was listed as one of the “very best of living scenic artists,” listed alongside Russell Smith, R. Martin, and W. Seavey (The Philadelphia Inquirer, 15 Nov, 1879, page 5). In the 1892 article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” Voegtlin was remembered for his talent (Dec. 18, 1892). Of Voegtlin, the he article reported, “One of the great giants of the scenic world was William Voegtlin, the greatest deceiver of transformation effects that ever walked the paint bridge. He had a style peculiarly his own and seemed to incorporate the stunning effects of all schools, but was not without artistic weakness and peculiarities. In some respects his drawing had the weakness of Morgan, but his color was wonderfully vivid, and he was a grand master with foil. In this latter respect he was only rivaled by Thomas Noxon of St. Louis, a remarkable artist in spectacle. Voegtlin often ate and slept on the paint frame for weeks at a time during the rush of a great production. Then followed a period of dissipation, when his painting was very “red.”

Of his productivity, Voegtlin was remembered as “an extremely rapid painter.” In 1892, “The Star-Gazette” reported that “when he made the scenery for an elaborate production of Faust, the Brocken scene, the magnificence of which has been extensively advertised, was scarcely more than half finished when the curtain rose for the first act. But it was finished by the time it was wanted, though it was till wet” (Star-Gazette, Elmira, NY, 3 June 1892, page 4).

William Voegtlin married his first wife Berth Fleichman in Peru, Illinois, in 1857. The couple had a total of nine children, but only two survived to adulthood – Emil (b. 1858) and Arthur (b. 1862). They followed their father in the scenic art line. The family settled in New York, where Voegtlin continued to work as a scenic artist. Like many scenic artists, he frequently traveled for work, and later took along his young sons as assistants. After extended absences and twenty-six years of marriage, Bertha ran away with a close family friend, Carl Voegel, of Voegel & Co. At the time, Voegel was also married and it caused quite a scandal.

Although Bertha returned a few times, the couple remained separated, but never officially divorced, causing even greater problems. Voegtlin eventually moved to the West Coast, painting at the Bush-street Theater in San Francisco. Ironically, his first wife was living with Voegel; cohabitating in Oakland. In California, Voegtlin met his second wife, Lizzie M. Ritchie, a dressmaker of Los Angeles. They married during May1884, and his tale of bigamy appeared in newspaper across the country (Chicago Tribune, 5 Jan 1885, page 2).

Ironically, both his first and second wife threatened to cause his arrest for bigamy unless he paid them money. Bertha held his possible imprisonment in San Quentin over his head, unless he paid her the sum of $1,360. Other stories, explained that he was told to turn his entire salary over to Bertha, which he reportedly did for some time until he tired of agreement and his arrest followed. There is quite a bit more to the story, but this is the condensed version. His tale of bigamy appeared in newspapers all across the country and is quite an interesting story (Chicago Tribune, 5 Jan 1885, page 2). When his case went to trial, however, Voegtlin was acquitted of his crimes and returned to work as a successful scenic artist.

Over his forty-year career, Voegtlin painted scenery for almost all of the principal theaters in the country. His projects included the scenery and curtain at Child’s Opera House in Los Angeles, as well as scenery for the Boston’s Grand Opera House, the Globe Theatre in Boston, Booth’s Theater, the Union Square Theatre, and the California Theatre. For a number of years, he was the chief scenic artist under Jarrett & Palmer’s management and was engaged by E. G. Gilmore at Niblo’s Garden Theatre in 1880. At Niblo’s he created scenery based on designs sent by the Kiralfy Brothers for their spectacles too (New York Daily, 13 July 1879, page 6). In 1881, the family was running a prosperous boarding house in New York.

By 1890, Voegtlin was working with two other well-known artists, Ernest Albert and Henry Hoyt, on productions for the Chicago Opera House such as “Cinderella” and “Bluebeard Jr.” In 1892 he and Joseph D. Claire and produced scenery for “Kajanka,” the pantomime (Altoona Evening Telegram, 3 May 1892, page 3). Voegtlin passed away at the age of 57 in 1892, after suffering for years inflammatory rheumatism. He was interred at Forest Hills cemetery (The Boston Globe, 1 June 1892, page 10). His pallbearers included many well-known scenic artists: Henry C. Tryon, Charles Witham, John A. Thompson, William Gill, Victor Lawson, Henry E. Dixey, William Dixon, and Mr. Brooker.

To be continued…

Tales from a Scenic Artist and Scholar. Part 729 – Drop Curtains in Philadelphia, 1894 – Matt Morgan and the Walnut Street Theatre

Part 729: Drop Curtains in Philadelphia, 1894 – Matt Morgan and the Walnut Street Theatre

“Well-known Drop Curtain in Philadelphia Theatres” was an article published in “The Philadelphia Inquirer on Dec. 18, 1894 (page 45). Over the next two weeks, I will post the article in its entirety and then return to the Moses typed manuscript and the year 1909. Here is the third part about scenic artist Matt Morgan’s drop curtain at the Walnut Street Theatre.

“The drop curtain at the Walnut Street Theatre is strikingly different from any other in town. It is skillfully painted to represent silk, and appears to be made of sixty-four squares of white silk deftly sewn together, on which, in a large oval in the center of the curtains is painted a charming picture, representing Shakespeare reading his play, “The Merry Wives of Windsor,” before Queen Elizabeth. It is known as the Shakespeare curtain, and was painted by that versatile artist, ‘Matt’ Morgan, in 1877. Matt Morgan, now deceased, was a prominent figure in the art world. Though born in Ireland, he was educated in London, and worked on a number of illustrated papers. He was also a figure artist of marked ability, but was unsuccessful in his business ventures. The curtain was first unrolled September 10, 1877, and shows none of the effects of the seventeen years of constant use. Through the oval occupies less than a third of the square surface of the curtain, it contains more than a score of personnages. The aged queen, habited in a robe of yellow silk with pointed bodice of coquelicot satin, puffed sleeved trimmed with velvet and an enormous white lace collar and lace cuffs, is seated upon a throne surrounded by courtiers, pages and attendants, while she listen with rapt attention to the reading of the play.”

An illustration of Matt Morgan’s curtain included with the article.

The Walnut Street Theatre, located at the corner of Ninth & Walnut Street in Philadelphia, opened its door on February 2, 1809. Initially the structure featured a ring for equestrian acts, built by the Circus of Pepin and Breschard. Over the course of two centuries, the building underwent many renovations. It was enlarged between 1811 and 1816, transitioning into a legitimate theatre that included a real stage. Remodeled between 1827 and 1828, the Walnut Street Theatre installed gas lights in 1837 and air conditioning in 1855; an American first for both. By 1863, Edwin Booth and John Sleeper Clarke purchased the venue. Throughout the duration of the 19^th century, the theatre underwent a series of renovations, including a series of scenery purchases, as was common at the time. Morgan’s drop curtain was installed in 1877.

Matt Morgan was celebrated scenic artist and caricaturist. An Irishman trained in London, he was a favorite pupil of Stanfield. By 1866, he was working as a scenic artist, an assistant to Thomas Grieve at the Covent Garden Theater in London (The Era, 23 Dec. 1866, page 8). In 1870, Morgan immigrated to America and soon made a name for himself at Frank Leslie’s Illustrated paper, becoming a rival of Thomas Nast, the German-born caricaturist and editorial cartoonist (Reading Times, 12 Oct, 1876, page 4). Before immigrating to America, Morgan initially worked as a cartoonist for “Tomahawk,” a weekly comic paper during the 1860s. Once settled in America, Morgan worked in a variety of locations across the country. In 1875, a Chicago article abut the revival of scene painting in the city described Morgan as “so far above the ordinary level of scene-painters” (Chicago Tribune, 14 Feb 1875, page 10). Later Morgan was at the head of the art department of the Stowbridge Lithographing Company in Cincinnati.

In 1886, Morgan organized a scenic art company in Cinnicinnati, Ohio. The company was to “present a series of accurate and historic pictures of the decisive battles of the late war between the states. These great pictures, now approaching completion for the northern victories, are to be exhibited throughout the country under the directions of competent lecturers; well known officers of both armies (The Pulaski Citizen, Pulaski, Tennessee, 12 Aug. 1886, page 2). According to newspapers, Morgan died of pleurisy, brought on by the work in the new Madison Square Garden (Logansport Reporter, 3 June 1890, page 3).

In 1905, the “Pittsburgh Daily Post” described one of Morgan as a “forgotten artist” when his work was exhibited at the 1905 Scene Painters’ Show. Held at the Grafton Galleries by the Scenic Artists association, the exhibit featured Theater Artists of Great Britain, including cartoons by Matt Morgan. The article reported, “One of his cartoons represented Ireland as a young girl bound to the stake, clasping to her bosom a harp. The masked executioner, setting fire to the fagots piled around her, is Disraeli, and behind him stand John Bright and Gladstone” (14 May 1905, page 26).

While searching for information about Matt Morgan, I discovered a story that gives a little insight into his personality. It appeared in “The Theatre Magazine,” Vol. 7., page 41:

“The late Matt Morgan, the scene painter and artist, had a great love for a practical joke as Theodore Hook. He was fond of donning an old suit of clothes and singing ballads, or selling chestnuts in the streets. Once he hired himself out as a drover, and was entrusted with the care of some sheep, but after taking them down the busiest part of Camden Town, suddenly left them, went home and changed his dress, and re-appeared to enjoy the predicament of an unfortunate policeman who had had to turn drover for the nonce. Another time one of his friends, attracted by a crows of people, found Matt, who, like Zacchæus, was little in stature, struggling with a man about 6 ft. 2 in., who was supposed to be an escaped lunatic, but who in reality was Matt’s cousin. By valorous exertions Matt succeeded in overpowering the big man, and with the aid of a rope contributed by the bystanders, who took it all au strieux, bound him securely, and led him away.”

What a character.

To be continued…

Tales from a Scenic Artist and Scholar. Part 728 – Drop Curtains in Philadelphia, 1894 – Russell Smith and the Academy of Music

Part 728: Drop Curtains in Philadelphia, 1894 – Russell Smith and the Academy of Music

The second part of the article “Well-known Drop Curtain in Philadelphia Theatres,” published in “The Philadelphia Inquirer” on Dec. 18, 1894, described four curtains painted by Russell Smith for he Academy of Music -a drop curtain, a Romeo and Juliet drop, an asbestos curtain, and a Japanese silk tableau curtain. The Academy of Music was constructed between 1855 and 57. It is considered to be the oldest opera house in the United States still used for its original purpose.

Postcard depicting the Academy of Music in Philadelphia.

Of Russell Smith’s scenic contribution to the Academy of Music, the article continues:

“It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.”

One of the happiest examples of this style of curtain is seen on the handsome ‘drop’ at the Academy of Music. It was painted by Russell Smith in 1857, and has been in continuous use for the past thirty-seven years, during which time has apparently lost none of its original freshness of coloring, and is considered one of the finest specimens of that famous artist’s work. It is entitled “Como,” but the actual scene is from sketches made by the artist at the head of Lake Lugano, in Northern Italy. A conventional design representing a huge frame, surrounds the picture while in the center of the lower border is a Greek bust. The scene pictures a view of “Como” in summer time. There are the finest of Italian skies, the glitter and sheen of the greenish blue waters of one of the loveliest lakes in the world. In the left foreground rises a terrace with broad, low steps leading down to the shimmering waters of the lake. To the right, in the immediate foreground is a mass of semi-tropical foliage overhanging the cool and sparkling waters of the lake. Beyond rise several palaces of the nobility; while in the background the sloping sides of the mountains are gemmed with castles and palaces. Gondolas float on the placid waters of the lake, while some of the palaces seem set like jewels in the opalescent waters.”

Illustration of Russell Smith’s curtain at the Academy of Music in Philadelphia. Included in the article, “Well-known Drop Curtain in Philadelphia Theatres” (“The Philadelphia Inquirer” on Dec. 18, 1894).

Interior of the Academy of Music in Philadelphia.

I was surprised to read that the drop curtain had remained in place for thirty-seven years, when many other theaters replaced their drop curtain and scenery every decade. This suggests to popularity of Smith’s work, especially in light of the drop curtain’s purpose described above. The article continued to describe the composition of another drop painted for the Academy of Music by Smith in 1883:

“The main curtain, often called the Romeo and Juliet drop, in use at the famous temple of music was painted by Russell Smith in 1883. It represents a moonlight scene from a terrace overlooking a lake. A gondolier has approached an overhanging balcony window, and delivers himself of his tender passion to the lady, who leans over the balcony rail while she listens to the music of his mandolin. The whole scene, faintly illuminated by the mystic light of the silvery moon falling on the rippling waters of the mist-covered lake, and the blue velvet curtains that drape the door opening on the terrace, with its mosaic floors and stone balustrade, making a witching moonlight scene.”

Smith also painted a fire curtain for the Academy of Music three decades after delivering the initial drop curtain. His asbestos curtain was claimed to be the first of its kind in the United Stated:

“The asbestos curtain at the Academy of Music is distinguished as the first asbestos curtain ever put in any American playhouse in America, and as far as is known, is the first in use in the world. It is made in three sections, the lower third of which has the asbestos pressed in on both sides. It was also painted by Russell Smith in 1887, and represents only a flight of steps nearly hid by a mass of red drapery.”

Finally, the article noted another scenic contribution by Russell, a tableau curtain:

“Another curtain at the Academy is the tableau curtain, made of pure Japanese silk and handsomely decorated along the border by Russell Smith, who has also painted 80 per cent of all the scenery at the Academy. The tableau curtain is made of a series of alternating perpendicular breadths of light blue and white Japanese silk with a satin finish to its surface. The curtain is divided down the center and has a border of flowers around each half. Along the bottom on an eight-foot border, are placed six large medallions representing scenes from ancient history and mythology on the left and modern views on the right.”

I was most intrigued with this particular scenic piece, as it was a silk curtain that was divided down the center to reveal a tableau. This is the first description of a tableau curtain that I have encountered to date. The specific mention of Japanese silk makes me consider the incredible expense of the piece, as well as the difficulty in its painting; silk can be a difficult fabric to paint scenic compositions, especially a series of scenes. The decoration of the eight-foot high border was quite complex, especially when considering that individual scenes were painted in each of the in six medallions within the floral area.

To be continued…

Tales from a Scenic Artist and Scholar. Part 727 – Drop Curtains in Philadelphia, 1894

Part 727: Drop Curtains in Philadelphia, 1894

I return to the life and times of Thomas G. Moses after exploring the 1858 drop curtain of Russell Smith for the opera house in Wilmington, North Carolina. The painting of drop curtains continued to draw many theatre patrons well into the twentieth century. Whether originally created for a venue, or replaced with a replica, the painted composition in the proscenium was the pinnacle of the auditorium’s décor, while concealing the magical realm behind the footlights.

Painting a successful drop curtain required extensive skill, as well as a thorough understanding of painting techniques for landscapes, architecture, and draperies. Picturesque compositions in ornate frames surrounded by lush draperies became the popular subject of large-scale artworks created by many nationally recognized artists. The fourth wall of the theatre became a gallery wall for many scenic artists allowing them to fully explore their artistic abilities and shine before nightly patrons.

Many of these stunning scenes were replaced with fabric draperies, movie screens, or a combination thereof during the twentieth century, the original scenes long forgotten by theatre audiences. Instead of raising a painted curtain to reveal the mysteries of Thespis, heavy draperies were drawn apart to show a movie.

While researching information on Russell Smith and his contemporaries, I came across the article “Well-known Drop Curtain in Philadelphia Theatres.” It was published in “The Philadelphia Inquirer” on Dec. 18, 1894 (page 45). Over the next few days, I will post the article in its entirety and then return to the Moses typed manuscript and the year 1909.

“Well-Known Drop Curtains in Philadelphia

Russell Smith’s “Como” in the Academy of Music a Splendid Work of Art.

The Striking Example at the Walnut – Curious Story Connected with the Portrayal on the “Drop” at the Grand Opera House-The Chestnut Street Opera House Owns the Last from the Brush of a Famous Artist.

“The Philadelphia Inquirer” on Dec. 18, 1894 (page 45)

“The drop curtain is the most expensive piece of furniture in any playhouse. Managers are most solicitous about the care of a handsome drop curtain than almost any other appointment in the theatres. They are usually painted by the artists of wide fame in the peculiar branch of art which they represent, whose charges for the work rang from $1000 to $3000. No better material than a light canvas has yet been discovered for painting the scenery for an artistic drop curtain, and considering the size, they are perforce fragile to a degree. An ugly wrinkle or crease, a scratch or rent is not easily repaired and still harder to conceal from the critical gaze of the public. In addition to the ever-present danger of fire, a drop curtain is liable to be more or less spoiled from several other sources. If left too long rolled up during a closed house, it is apt to look wrinkled when unrolled. Let the curtain hang down too long and it will sag out of shape, owing in large part, to the increased weight, unequally distributed, from the paint used in making the picture.

Sometimes, according to the way of lifting, it will curl most provokingly, making the picture upon the curtain look ridiculous by its distorted proportions. Once let a real hitch occur in the raising or lowering and there is likely to form an ugly crack from side to side, that time, patience, paint and money can only imperfectly repair.

It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.”

To be continued…

Travels of a Scenic Artists and Scholar: Thalian Hall’s Scenery Collections

For over a week, I have focused on the scenery produced for the Thalian Hall in Wilmington, North Carolina. Dozens of scenes were delivered from 1858 until 1909. This history is similar to thousands of other nineteenth century theaters across the United States, not accounting those that were lost to fire. Scenery was repeatedly delivered to entertainment venues in the 19^th century as managers sought various ways to attract the public, drawing audiences in with painted scenes. Then, as now, the audience expected to see something new and exciting. Here is a brief recap of the scenery delivered to the Thalian Hall from 1858-1909.

Russell Smith painted the original drop curtain and first set of stock scenery in 1858. By 1871, Smith’s original scenery was touched up by local artists.

The original 1858 Russell Smith curtain.

A decade later, in 1881, new scenery by Wilmington artist Ernest V. Richards was purchased at an expense of $247.00. Little is known of Richards beyond a few advertisements that he placed in Wilmington newspapers. Richards’ ran a “scene, fresco and sign studio” located on the “corner of Front and Princess streets (up stairs)” in Wilmington (Wilmington Morning Star, 21 Nov. 1888. Page 1). His newspaper advertisement noted, “All commissions in Art Work promptly attended to. Special designs in Christmas Cards and Advertising novelties.” By 1889, Richards expanded his service to include “Stained and Leaded Glass,” providing estimates and designs for church and house windows, with “matching and repairing a specialty” (The Wilmington Messenger, July 24, 1889, page 5).

In 1895, E. V. Richards again touched up the drop curtain and scenery at an expense of $53.80. This would be his last project for the theater, as William F. Hamilton was selected as a scenic artist to design and paint new scenery for the stage. In 1896, W. F. Hamilton converted the original painted curtain by Russell Smith from a roll drop into a fly drop. He also painted a new drop curtain and four new sets of scenery for the theater. In addition to working as a scenic artist, records indicate that Hamilton “completed a few other necessary improvements.” Transforming a roll drop into a fly drop suggests that a fly loft was added. Hamilton returned in 1899 to paint another drop curtain for the opera house.

On August 28, 1904, “Wilmington Morning Star” the stage was enlarged ten feet and scenery was again added to the stock. Records indicate that new scenery was delivered by C. N. Garing of Garing Scenic Studio painted new scenery. Garing was a lesser-known scenic artist who worked throughout the Carolinas. On September 5, 1905, the “Wilmington Morning Star” reported that new scenery was painted for the venue and “many new appointments added.” Little is known of Garing, by in 1907, he was living in Atlanta, Georgia (The Alamance Gleaner, 11 July 1907). That year, he was awarded the contract to paint stage scenery for the new opera house in Graham, North Carolina. As a side note, Garing’s brother was the well-known musical director A. J. Garing who worked at the New York Hippodrome (1918).

In 1909 after the renovation, all of the old scenery on stage was replaced with all new versions from New York. On August 5, 1909, the “Morning Star” reported “Yesterday a special scenic artist from New York city arrived and is now at work planning the full equipment of new scenery for the theatre, including a handsome drop-curtain, and will also map out the pretty interior decorations…the electric equipment of the theatre is also to be the most elaborate…The scenic artist will also direct the work of the interior decoration for the theatre, and is one of the best men in the business, representing a well-known northern studio.”

On August 20, 1909, the “Morning Star” included, “The painting of the scenery is fast progressing at the theatre, and today a handsome front curtain reached the city from the north, through there will also be a fine painted one here, this giving the theatre two curtains.”

When considering the amount of scenery delivered between 1858 and 1909, it is shocking to see that only two pieces remain – the original drop curtain and a book flat. However, looking at historic venues nationwide, this is a significant find. Many nineteenth century theaters have no painted remnants from their past, especially something that was delivered when the venue opened. Tomorrow will be my last post on the Thalian Hall and I will look at the last restoration of the 1858 drop curtain. Over 150 years, this curtain was “touched up” and “repaired” numerous times, each with the original paint. The most recent repair to patched and water-damaged areas incorporated the use of oil pastels.

To be continued…

Travels of a Scenic Artists and Scholar: W. F. Hamilton, scenic artist

William F. Hamilton, Jr. grew up in Franklin, Pennsylvania. Known as a scenic artist and inventor, Hamilton painted scenery for the Thalian Hall in Wilmington, North Carolina in both 1896 and 1899.

In 1896, the following article appeared in the Wilmington newspaper”

“Everything is now in readiness at the Oper House for the opening of the season. To use a trite expression, the new drop curtain which has just been completed by the well known scenic artist, Mr. W. F. Hamilton, of the Standard Theatre, New York, city, is “out of sight.” The new curtain is a very handsome one. The large centre scene represents the coast of Cornwall, showing the high cliffs, upon the tops of which are the homes of the fishermen and natives of this dangerous coast. Mr. Hamilton and his clever assistant, Mr. F. C. Peckham, showed a STAR reporter yesterday several superb set scenes, which they have just completed, in conjunction with the curtain, for the management of the house. The handsome old curtain, which has for many years past done excellent service, has also undergone repairs, and has thrown off its roller and will “slide up” like its companion.” Hamilton transformed the 1858 drop curtain by Russell Smith into a fly drop.

The first mention of Hamilton as a scenic artist that I have located to date was published on the June 15, 1888, “Northumberland Country Democrat” of Sunbury, Pennsylvania. The article noted, “W. F. Hamilton, of Lancaster, a scenic artist, is in Sunbury on business” (page 1). That summer, Hamilton moved to New York wehere he continued working as a scenic artist. On August 1, 1888, an article in the “Pottsville Republican” confirmed his move to New York reporting, “W. F. Hamilton, a scenic artist, of New York City, is domiciled at the Merchants’ Hotel. He is at work on a 5×5 feet lawyers card with a view of Tumbling Run in the center, which he is placed at the Court House” (page 4). As with many scenic artists of the time, Hamilton also worked as a sign painter early in his career before securing larger theatrical projects.

In 1890, his hometown newspaper, “News Herald” of Franklin, PA, noted a summer visit. On August 13, 1890, “Our Card Basket” reported, “Mrs. W. F. Hamilton, of Johnstown, and her son, W. F. Hamilton Jr., have been the guest of the lady’s brother, B. Moffett. The son is a rising young scenic artist of New York city, He left this morning for Nashus, N. H.”

Hamilton appears in the “Boston Post” two years later. On September 5, 1892, the Personal Section of the paper included, “W. F. Hamilton, the scenic artist, is again in this city, after having finished his contract placing two curtains in the Academy of Music at Pittsfield” (page 4).

Hamilton worked as a scenic artist all along the eastern seaboard at a variety of venues throughout the 1890s, including in Wilmington, North Carolina, in 1896. It was only after my visit to give a presentation about 19^th century scenery in Wilmington, that I discovered the Thalian Hall’s connection to Hamilton, Thomas G. Moses, and New York Studios, the eastern affiliate of Sosman & Landis. This was almost as exiting as seeing the Russell Smith curtain from 1858, as I have never encountered scenery produced by New York Studios.

In 1896, Hamilton was associated with the Standard Theatre in New York city as both the scenic artist and stage manager for the venue. He also worked at the Star Theatre in New York. By 1899, he was listed as the scenic artist for the Columbia Theatre in Boston. That year, “The North Adams Transcript” published an article “Columbia Scenery and New Exit” (North Adams, Massachusetts, 10 Mar 1899, page 5). The article noted, “The trustees of the F.M.T.A. society awarded the contract to Hamilton to complete the work. Of Hamilton as an artist, the article continued, “He has an excellent reputation, and will provide a complete set of scenery, with drop and fireproof curtains. It is expected that some of the scenes will be more elaborate than anything the house has had.”

Although Hamilton would continue to work as a scenic artist for decades to follow, he was also a well-known inventor of theatrical effects. This skill set expanded when he established the scenic studio with Moses called Moses & Hamilton. They would develop a series of startling scenic effects for both the stage and amusement park attractions. More in that subject tomorrow.

1903 advertisement for Moses & Hamilton in Julius Cahn’s Official Theatrical Guide.

To be continued…

Travels of a Scenic Artists and Scholar: William F. Hamilton and New York Studios in Wilmington, North Carolina

Nineteenth century scenic artists relied on satisfied clients; this not only helped secure future contracts but also guaranteed repeat customers. William F. Hamilton created scenery for the opera house in Wilmington, North Carolina, during 1896 and 1899. He was linked to the 1909 production of scenery too.

On August 25, 1896, the “Wilmington Morning Star” included the following announcement on the first page:

“Improvements at the Opera House.

“Mr. W. F. Hamilton, scenic artist and stage manager of the Standard Theatre, New York city and his assistant arrive in the city to-day to paint things in general in the Opera House. The present roll-curtain will be converted into a drop curtain, and a new drop curtain will be added. Four new sets of scenery will be painted and other necessary improvements in this line will be made. The theatrical season of 1896-97 promises to be the most successful for many years. The house will open with ‘Jim, the Penman,’ on the 7^th of next moth.”

A few years later, Hamilton returned and the “Wilmington Morning Star,” reported “Mr. S. A. Schloss informed a representative yesterday that he had just closed a contract for a new drop curtain for the opera house, to be painted by Mr. W. F. Hamilton, the celebrated scenic artist of the Star Theatre, New York City. Mr. Hamilton was in Wilmington about two years ago and most of the finest scenes now at the Opera House were painted by him” (10 Oc. 1899, page 1).

And then there was his connection with another installation. The opera house underwent a significant renovation in 1909, with the installation of the current proscenium arch, measuring 32’ by 26.’ The work was completed under the direction of commercial lessee S.A. Schloss. In a local newspaper article Schloss explained that he was planning to restore and rehang the original drop curtain.

When I visited Thalian Hall this spring, Tony Rivenbark shared another piece of scenery found tucked away at the theater that looked to date from the early twentieth century. Sitting at the top of a backstage landing was an old book flat. It depicted a wood scene and was intended a masking, or a wing, for the side stage.

The New York Studios stencil on the Thanlian Hall flat in Wilmington, North Carolina, ca. 1910.

A painted detail from the New York Studios flat.

Backside of the New York Studios flat at the Thalian Hall in Wilmington, North Carolina.

The New York Studios flat at the Thalian Hall in Wilmington, North Carolina.

Amazingly, there was a studio stencil on the back of the flat, New York Studios. New York Studios was the eastern affiliate of Sosman & Landis of Chicago, started by David Hunt during the first decade of the twentieth century. In 1910, newspapers verified their increased presence in New York, describing scenery produced by “the well known New York and Chicago artists, Sosman & Landis” (The Times, Streator, Illinois, 14 Sept. 1910, page 5). New York Studios was incorporated on April 8, 1910, and lasted until its dissolution on Dec. 15, 1939.

An ad for The New York Studios from 1927.

In 1904, Joseph Sosman and David H. Hunt convinced Thomas G. Moses to return to Sosman & Landis in Chicago, effectively ending his partnership with Hamilton. Moses fostered many theatre connections along the eastern seaboard after establishing Moses & Hamilton. The success of the from 1900-1904 proved an asset to Sosman & Landis upon his return.

The New York Studios stockholders in 1910 included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. Like many firms, they operated under the name prior to incorporating.

Hamilton continued to work for New York Studios until he permanently moving to San Francisco to focus on Shrine Circus scenery and other large spectacles during the early 1920s. A “Variety” article from November 9, 1921 noted Hamilton’s continued connection to New York Studios that year, while also working for local firms. Under the heading “Hamilton’s Special Events,” the article commented, “W. F. Hamilton, formerly of the New York Scene Painting Studio, came to San Francisco to prepare the scenic equipment of the recent Shrine Circus.” In San Francisco, Hamilton also found work at Flagg Studios.

To be continued…

Travels of a Scenic Artists and Scholar: The Drop Curtains of Thalian Hall in Wilmington, North Carolina

Many theaters forget their past. Fire, hurricanes, tornados or renovations can destroy artifacts that were never documented in the first place. Painted scenes and machinery are removed, stored, or disposed of at some point and then forgotten. When considering the amount of change that happened to Thalian Hall over the past 150 years, one has to believe that this drop curtain keeps reappearing for a purpose.

The original 1858 drop curtain painted by Russell Smith pictured in 1947.

Changes made to the theater since it opening in 1858 were documented in a paper, written and compiled by Isabelle M. Williams in 1976. There is also a wonderful book and numerous articles written by D. Anthony Rivenbark about the theater. Much of the information below is from the research of these two authors.

In 1858, Russell Smith received $200 for the drop curtain, a bill paid by five businessmen in Wilmington, North Carolina.

The 1858 drop curtain by Russell Smith now hangings in the lobby of Thalian Hall.

In her paper, Williams notes that major revisions to the theater took place at Thalian Hall in 1867-9, 1881, 1900, 1904, 1909 and 1938. She wrote, “It was remarkable that Thalian Hall has endured it all …” The renovations made over the decades were substantial, but it was the continuing delivery of scenery to the venue that really intrigues me the most.

In 1858, the original proscenium was described as 30 feet high and a little less in width, with a stage area measuring 42 feet by 57 feet. It is believed that the original width of the proscenium was actually 28’ wide by 22’ high, making the drop curtain’s 29’w x 23’h measurements noted on the preliminary drop curtain sketch reasonable.

At the time of installation, it was common for a theater to include a painted grand border; this often occupied the top third of the proscenium opening. A painted grand border and painted side tormentors reduced the proscenium opening for a much more intimate staging. However, if the painted grand border, torms, and drop curtain were removed, the large proscenium opening could accommodate other forms of entertainment, such as aerial acts.

The current remnant of Smith’s original drop curtain was constructed with vertical seams, very similar to the backdrops manufactured at the Sosman & Landis studio in Chicago. The drop curtain panels measure between 26” and 27” wide. There are eleven full panel sections and two partial panel sections, in addition to the two fabric extensions that were added to each side at a later date. The total width of original painted fabric that still remains is approximately 27’ wide. The original edges of the drop, complete with leather rings rope guides, were retained and shifted; with a fabric insert in between the final panel, cut in half to extend the overall width of the drop curtain.

The original curtain (left) and fabric insert (right).

Williams further writes that by 1900, the “curtains” surrounding the drop curtain were replaced, as plans called for a new proscenium and grand drapery. At the time, the term “curtains” often noted painted pieces, while “drapery” described hung fabric that was not painted. It is likely that the original painted tormentors were replaced with actual draperies, thus necessitating the original drop curtain to be enlarged. Also, the Thalian Hall stage was altered “to give more room for scenery.”

There was also another drop curtain installed at Thalian Hall by William F. Hamilton. On October 10, 1899, “The Dispatch” reported, “Mr. A Schloss, the lessee of the Opera House has closed the contract for a new drop curtain for the Opera House. It will be painted by Mr. W. F. Hamilton of the Star Theatre of New York City. William F. Hamilton is the same scenic artist who I have previously written about; the one who partnered with Thomas G. Moses and formed Moses & Hamilton in 1900. The studio produced scenery for opera, Broadway and Coney Island from 1900-1904. Moses & Hamilton set up their new studio at Proctor’s 125^th Street Theatre, a variety theatre in New York City that included a scene room. They also rented paint frames at two other theaters. When their partnership ended, Moses returned to Sosman & Landis while Hamilton stayed in New York.

Hamilton was no stranger to Wilmington. In 1896, The “Wilmington Morning Star” reported, “Mr. F. C. Peckham, of New York, assistant to Mr. W. F. Hamilton, scenic artist and stage manager of the Standard Theatre, arrived in the city yesterday and will commence work on the scenery and a new drop curtain at the Opera House (Wilmington, NC, 26 August, 1896, page 1). It was not uncommon for a venue to include more than one drop curtain; a front drop curtain (landscape composition surrounded by ornamental frame and painted fabric surround), an advertisement curtain (sponsored by local businesses), and an olio curtain (for entr’acte pieces, such as short musical numbers between melodramatic acts); these would all be termed “drop curtains” to accompany the remained of painted settings. Drop curtains could also indicate painted backings, what we consider backdrops now.

J. Constantine provided another drop curtain and two scenes. Constatine was from the Grand Opera House in New York in 1900. The constant trickle of scenery into the theater is not unusual at all. Unfortunately, we do not know the exact compositions for any of the drop curtains painted besides that of Russell Smith. Consantine’s two additional settings, however, were described somewhat. The new scenery included an interior parlor setting with fourteen pieces and a street scene with borders (Star, May 8, 1900, page 13). I interpret this description to mean that the interior parlor scene included fourteen interchangeable flats that were lashed together, a standard interior box set for the time. The street scene included a backdrop, wings, and sky borders. That year, the stage was also remodeled to make room for the additional scenery, necessitating the purchase of new stage machinery at an expense of $740.

By 1904, there was a mention about a change in the proscenium, with the stage being enlarged by 10 feet. This did not include the proscenium opening, just the actual backstage area.

The original Russell Smith drop curtain was finally taken down and stored in the attic when a new front drop curtain arrived from New York City in 1909. The proscenium opening was not listed in Julius Cahn’s Official Theatrical Guide as being 35’ wide. A renovation of this sort, often demands new scenery or the refurbishment and expansion of existing scenery. The well-known Russell Smith curtain could have been enlarged and hung for sentimental purposes on an upstage line, or simply stored and replaced; it is not clear of the exact inventory and line sets at this time. Something prompted the removal of the curtain after the renovation in 1909.

By 1932, however, the original drop curtain was discovered in a storage room of Public Library. Smith’s work again appeared on stage in 1938 when it was hung for a brief period of time before returning to storage. At this point, records indicate that it was stored on the stage and subsequently damaged, with the top third being destroyed. Some accounts note that wheelbarrows were rolled across the top while it was on the floor, causing the damage. And the drop disappeared again before rediscovery a few decades ago.

It is astounding that this curtain survives at all, let alone is still hanging at all in the original building.

To be continued…

Travels of a Scenic Artists and Scholar: Mr. Smith was Assisted by His Daughter

In 1907, the “Boston Sun” published an article about hanging a drop curtain painted by Russell Smith in 1872. The curtain was a replica of an earlier version painted in 1856-1857. The article noted, “In the painting of the curtain Mr. Smith was assisted by his daughter who executed the drapery effects, which were her specialty.”

Illustration of the drop with curtains by Mary Smith for the Academy of Music.

Russell Smith, his wife and two children all painted. Smith married Mary Priscilla Wilson, in 1838; she was a talented artist in her own right. Two were born to the couple, a boy and a girl. Xanthus Russell was born in 1839, and his sister Mary in 1842. Russell encouraged his children’s interests in art. This is not unusual as many artists who have children are eager to share the joy of sharing their trade and the fulfillment of art. Russell even traveled to Europe with the entire family to experience historically significant and artistic landmarks together from 1851 to 1852.

Of their talents, Xanthus was recorded as specializing in landscape and marine subjects, while Mary was recognized for her paintings of animals. It is not unusual that the children also helped their father with his theatre projects, hence Mary specializing in painting draperies for drop curtains. The two certainly worked together on many projects. In 1876, both Russell and his daughter exhibited their artworks independently at the Philadelphia Centennial Exposition. Her early passing only two years later had a profound effect on Smith and he continued to talk about his daughter until the end of his life.

In 1894, Russell Smith spoke of his career in an interview with “The Times” of Philadelphia, Pennsylvania (20 May 1894, page 16). The interview was two years before his death, and Smith’s recollections convey the profound sense of loss for not only a child, but also a kindred spirit; a fellow artist’s flame who was snuffed out much too early. Even the illustration of Smith accompanying the article conveys exhaustion, an emptiness that has worn down his features.

Here is what the article noted about Smith’s daughter:

“Naturally, the sweetest memories of the veteran painter linger about his dead daughter, Mary. Both of his children, Mary and Xanthus, naturally inherited the talent of their parents, for Russell Smith’s wife was also a water-colorist of ability. His son, Xanthus, who lives at the castle with his father, served during the was under Admiral Dupont, and his knowledge of the war has been repeatedly utilized in illustration work.

“Mary Smith, who died seventeen years ago, was best known as a successful painter of animals, and during her short life painted not less than 300 pictures. The old scene painter touches tenderly a little book of drawings made by Mary when traveling in Europe with her parents. At that time she was only 9 years old. Among the drawings are representations of a gaily-dressed lady at a piano, a procession of Swiss peasants entering a church, Welsh women in blue coats driving pigs to market.

“Like all tender-hearted women, Mary Smith loved flowers and animals. She delighted in her garden and raised large families of poultry. Chickens she loved especially and at all seasons of the year had a basket of chicks hanging on her easel.

In the parlor of the castle hangs a portrait of a gallant rooster, about which the artist tells this story: ‘Not content with the days labor Mary would rig up a large lamp on winter nights and make careful life sized studies from an old hen or lordly rooster. It required no little perseverance or determined will with occasionally a rap with a maulstick to make them even tolerable sitters, but the result was always a successful interpretation of chicken character. On one occasion when the sitter was shown his portrait he at once made a determined assault upon I t and the study still shows the gashes about the head made with his pugnacious bill.’

“It was Mary Smith’s desire that at her death a portion of her earnings should be invested in such a manner as to yield an annual income of $100, this to be awarded by each years’ exhibition committee of the Pennsylvania Academy of the Fine Arts for the best picture in oil or watercolors painted and exhibited by a resident woman artist in Philadelphia. The Mary Smith prize has regularly been awarded since 1879, and among the women who have received the honor are Cecilia Beaux, Alice Barber Stephens. Emily Sartain and Lucy D. Holme.”

Mary may be the first publicly recognized female scenic artist in America, and her specialty was draperies.

To be continued…

Travels of a Scenic Artists and Scholar: Alterations to Russell Smith’s 1858 Drop Curtain at Thalian Hall

According to Virginia Lewis in her book “Russell Smith, Romantic Realist, “ in 1872, the artist Russell Smith painted a replica of an earlier work. In 1857 Smith created the entr’acte drop curtain for the Academy of Music in Baltimore, Maryland. This replica composition was described in the “Baltimore Sun” during 1907. That year, the article reported, “a curtain, painted by the late Russell Smith, famous the world over as a curtain painting artist, has just been hung. The curtain, painted more than a quarter of a century ago, has been retouched around the borders so that it will harmonize with the decorations of the proscenium arch.” In other words, they added colors to unify the old painting with the new interior décor.

This parallels what happened to the 1858 drop curtain at Thalian Hall in Wilmington, North Carolina. The Smith curtain was enlarged and altered at some point. I studied the additions and alterations over the course of a few hours while sitting in the Thalian Hall lobby on April 23, 2019.

What initially struck me was the addition of black paint. The reason for my surprise is that black is seldom used in 19^th century and early 20^th scene painting, unless it is for lettering on an advertisement curtain. The darkest color is typically Van Dyke Brown, especially for shadow areas and it reflects light better than black. For the Smith curtain in Wilmington, opaque black shadow lines were added by a second artist well after the original composition was painted. The black was added to the painted ornament on the frame, the center medallion and the statue on the right side of the composition. However, black was not the only new paint introduced to the original painting, as both a red glaze and green glaze were added to the frame. These two colors were likely an attempt to “harmonize” the drop with the decorations of the proscenium arch, similar to what happened at the Academy of Music in Baltimore when Smith’s curtain was rehung in 1907.

In regard to the Thalian Hall drop curtain, the center medallion was repainted in a style inconsistent with the remainder of the composition; specifically, the portrait and lettering are of an inferior quality. The inferior brushwork not only applies to the actual features Thalia, but also the lettering of “Thalia.” For both, the painting style is much more rudimentary than the remainder of the work, especially the quality of the lettering. The lettering “Thalia” is not centered and even touches the bottom of the portrait. Furthermore, the font is muddy and the brushstrokes unrefined.

There is also the problem with the use of black for background for the portrait that dominates the entire composition. The black immediately draws focus from the rest of the composition. It is likely that the second, and currently artist, recognized his mistake as soon as he stepped back from his work. I always hate to presume what an artist was thinking when creating a painting; we cannot know what was going on in another’s mind during the time of artist creation. However, here is my hypothesis, as I too have unwittingly placed myself in a similar position. After adding a detail that was too dark for the painting, you panic a bit, and think “Oops! Well, I’ll just add a little more of that same color here, and here, to make it look like as if it belongs.” This is always mistake, as a once small inconsistency grows into a substantially larger problem.

In an attempt to unify the work, the artist took the same black color from the medallion and added little touches here and there throughout the lower third of the painting to make it seem like it was part of the original color scheme. Unfortunately, the artist did not have the same ‘hand” as Smith. It is his inferior technique that gives away the over painting in addition to the color. The artist who added the black lines did not use a straight edge to draw the straight black lines. The remainder of the composition clearly shows that all of the straight lines were painted while using a straight edge. Without a straight edge, the lines waiver and suggest an artist’s inexperience; this still happens in scenic art today too.

Example of a black line added by a later artist to the Russell Smith drop curtain at the Thalian Hall in Wilmington, North Carolina.

The lettering of Thalia is inconsistent wit the remainder of the painting.

The flat black added to the statue obliterates the original shadow shapes an is inconsistent with the remainder of the composition.

The same can be said for the shadowing of the other ornamentation along the border where black is applied. The little “U” shadows placed at the bottom are also inconsistent and sporadic, unlike the remainder of the original shadow work in deep brown and sienna glazes. The black also reads as opaque, unlike the remainder of the painted ornament around the frame. Smith’s style harkens back to the English tradition of glazing. The center medallion and black accents are opaque and inconsistent with this tradition.

In addition to the over painting, the width of the entire curtain was extended and the bottom border was repainted to match the new décor, just as the case with the Academy of Music in Baltimore during 1907. In Wilmington, the fabric extensions on either side of the drop were painted in a reddish hue, likely to match the new décor. This same color was also added to the ornamental frame surrounding the landscape composition, placed as an accent on the original white and gold frame. In addition to red, green was added at the bottom. You can see that the frame was originally white with gold trim; the golden shapes being defined with yellow, ochre, burnt sienna, umber and a bit of Van Dyke brown. The red is placed as a glaze over some of the detail; effectively obliterating the dimension and making it area appear flat. The also glaze extends onto the fabric extension, which is how we know it is not original to the composition. The same can be said for the green glaze; the color again obliterates some of the detail.

It would be wonderful to see the drop as it looked when originally painted by Smith, without the black, red and green additions; they all detract from the soft atmospheric effect of the composition. In particular, without the later red accents, the small touches of that same color in the clothing of the figures would have jumped out, making the scene come alive with splashes of brilliant colors.

To be continued…