Olio – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1175 – The Illini Theatre in Sterling, Illinois, 1924

In 1924 Thomas G. Moses wrote, “Some small work has filled in very nicely. We secured the contract for my old hometown theatre.” Moses was referring to the Illini Theatre in Sterling, Illinois. The 1,200-seat venue was a combination house, built by George Greenough and W. A. Weeks. Moses & Megan delivered both fabric draperies and painted curtains, each now considered necessary for venues featuring both live entertainment and film. This project was secured and completed while Moses and Fred R. Megan were waiting to purchase the Sosman & Landis name.

From the “Sterling Daily Gazette,” 10 March 1924.

On March 19, 1924, The “Sterling Daily Gazette” described the stage of the new theater. The article reported, “The stage, 28 feet deep and 52 feet wide, an arch opening which is 30 feet wide. The stage is equipped with appropriate drops to harmonize with the color and decorative scheme of the theater. The asbestos curtain is plain but for the letter “L.” Back of that are beautiful tobacco brown velour drapes which operate on tracks so that they may be gathered back in drape effect. Furnishing an outline setting for the silver picture screen is a lavender and gold drape of sateen. An advertising olio curtain, a wood scene and the usual interior and exterior boarders are included in the stage drops. All of the curtains were designed and furnished by Tom Moses of the firm Moses and Megan. Mr. Moses is a former Sterling resident and has many friends among the older citizens.”

From the “Sterling Daly Gazette,” 10 March 1924.

After a brief nod to the scenic elements, the article described the new “beautiful lighting effects” at the Illini Theatre. The article continued, “The lighting effects comprise a tribute to the highest genius of electrical science. It is doubtful if Fairyland with its pale, delicate hues – the pinks and purples, the reds and yawning yellows, balmy blues and gentle greens of the most resplendent imaginative array – could be more adequately illuminated to reveal its hidden charm. An ingenious system of lighting operated by a new type of remote-controlled switchboard and cleverly adjusted dimmers, whose levers may be operated with piano touch, is the source of the subtle brilliance in the reflector boxes under the organ screen on both sides of the proscenium arch and throughout the auditorium. The seven primal colors of the rainbow may be blended and diffused by this artful scheme to suit the whims of the picture upon the screen, with unerring faithfulness to plot suggestion. There can be pink dawns, golden noons and purple twilights, bleak breaks-o’-day, cheerless noontimes and drab sunfalls, sombre nights shot with silvery moonlight; yellow hazes simmering in the summer in the summer sun; mountain blues and grey flecked with snowy whites, the vital greens of meadow and hillside, the pinks of rose and the red glows of pulsating life whichever the theme of the picture suggests.”

From the “Sterling Daily Gazette,” 12 June 1924, page 2.

From the “Sterling Daily Gazette,” 24 May 1924, page 2.

From the “Sterling Daily Gazette,” 10 June 1924, page 2.

To be continued…

Twin City Scenic Co. of Minneapolis, Minnesota – Olio design by John Z. Wood

Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. of Minneapolis, Minnesota.

Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries. The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database.

Twin City Scenic Co. of Minneapolis, Minnesota – Olio design by John Z. Wood

Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.

Painted detail from olio design by John Z. Wood

Signature by John Z. Wood near damage at right.

The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database.

Twin City Scenic Co. of Minneapolis, Minnesota – Olio Design by John Z. Wood

Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. Information on the back of the color rendering notes that the composition depicts Bordighera, Italy. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.

Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Detail of Bordighera, Italy, in the distance. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Historic photograph of Bordighera, Italy.

The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

I post a historic scene every day to my FB Group Dry Pigment and my FB Page Wendy Rae Waszut-Barrett.

Tales from a Scenic Artist and Scholar. Part 1031 – “Let’s Go Peggy,” the Elks Big Show of 1919

There are thousands of productions with scenery delivered by Sosman & Landis that were not recorded by Thomas G. Moses in his memoirs. In 1919, new scenery for the “Let’s Go Peggy” was designed and delivered by Sosman & Landis and Kansas City Scenic Co. The two firms had partnered together on many projects, including the scenery for the Elks’ Opera House in Leadville, Colorado in 1901.

The “Topeka Daily Capital” reported, “a carload of scenery is being built in Chicago for the production and will be received here in time for the stage rehearsal scheduled for next Monday night” (20 Oct. 1919, page 6).The setting for the first act was in Madrid and the setting for the second act was in Palm Springs.

The “Topeka Daily Capital” reported, “’Let’s Go Peggy Will Be A Home Grown Production By James A. Darnaby” on October 13, 1919 (page 6). Here is the article in its entirety:
“’Let’s Go Peggy’ arrived in Topeka yesterday with James A. Darnaby and his corp of assistants who will direct the production of the fall show for the Elks. Mr. Darnaby has written the show expressly for the Topeka Elks to include several features not unusually written into a play of this character. In it are incorporated part of the original draft of ‘Janitor James’ and ‘Who Do You Love.’ He will open the same show with a professional company in Chicago January 1.

’Let’s Go Peggy’ starts in Spain where Major Hamilton, member of a socially prominent family is about to leave for America. A stunning and very rich widow desire to marry him. His son, however objects to the match, likewise, her daughter. To overcome their objections the elderly couple agree with the youngsters that if the son and daughter don’t marry they must not stand in the way of papa and mamma marrying.

The second act includes a minstrel oleo sketched in as the performance of a blackface glee club at a charity ball in Spain and the cast requires about thirty blackface comedians. Mrs. Anne Saunders Darnaby has written all of the music.

Madame Chenault will arrive Tuesday to direct the ballets and Miss Helen Runyan, musical director, will direct the choruses.

The first rehearsal will be held Tuesday and Mr. Darnaby will confer with the entertainment committee of the Elks’ club this morning with regard to a selection of the cast. The performance will be given at the Grand, October 28, 29 and 30.

Miss Runyan is staying with her aunt, Mrs. James Cannon, who is in Topeka with her husband, James Cannon, who is superintending the contract for building the East Sixth Street concrete road.

Everything which goes with the show will be new. The Kansas City Scene Co. is building a complete set of scenery for the entire show and Lester o Chicago, is making new costumes for the parts.”

Later advertisement would note that scenery for the show was provided by “Sosman & Landis, Chicago, and Kansas City Scenic Co., Kansas City” (Washburn Review, 22 Oct. 1919, page 3).

From the “Washburn Review,” 22 Oct. 1919, page 3.

On October 25, 1919, the “Topeka State Journal” reported, “Delegations of Elks from all over the state will see the opening performance of ‘Let’s Go Peggy’” (page 6).

“Lets Go Peggy” continued to be a success at Elks’ venues over the years. The show went on tour to other Elks theaters over the years. On March 24, 1922, the “Ottawa Herald” reported the show was “declared by many to have been the best home talent production ever presented “in Ottawa, Kansas (page 4). J. A. Darnaby and Anne Saunders Darnaby were still traveling with the production that involved thirty locals.

To be continued…

Tales from a Scenic Artist and Scholar. Part 894 – Price & Bonelli’s Greater New York Minstrels, 1914

Price & Bonelli advertisement in the “Central Record,” Lancaster, KY, 26 Nov 1914, page 3.

On Dec. 4, 1914, the “Twice-a-Week Dispatch” mentioned scenery produced by Sosman & Landis for Price & Bonelli’s Greater New York Minstrels (Burlington, North Carolina, page 1). Here is the article:

“Greater N. Y. Minstrels

James Bonelli, of Price and Bonelli, is very well known here in our city through his annual visits in former days in the white face version of Dickson and Mustard’s ‘Humpty-Dumpty.’ He has amused both old and young in many seasons gone by, but last night he appeared at his topmost success in the grand after piece following the Minstrel Olio – Humpty Dumpty in black face with an entire setting of special scenery from Sosman & Landis. Truly Bonellis a world beater for clean cut comedy. We welcome his return at the head of his own Minstrels or in any other production. Price & Bonelli, Greater New York Minstrels is a winner and will make good before any audience.-Evansville (Ind.) Democrat. Price & Bonelli will exhibit here at the Piedmont Opera House Soon.”

In 1907 Bonelli starred in Dickson & Mustard’s production of Humpty Dumpty and the Black Dwarf. Although a popular vaudeville actor, this show really brought Bonelli into the spotlight. The “News-Journal” reported “For many years [Bonelli] has been one of the best known and most popular vaudeville performers both in this country and abroad, and has met with great success in such musical comedies and pantomimes as Devil’s Auction and Eight Bells, and Fantasma Metropolitan critics have praised Mr. Bonelli insistently for his droll eccentric comedy and odd methods of his works. Reynold Wolf, of the New York Telegraph declares him without a doubt to be the funniest man on the American stage, and many other well known critics have vouched for his ability in much the same manner. (News-Journal, Mansfield, Ohio, 21 Oct 1907, page 7).

The “Humpty Dumpty” musical olio first appeared in the 1880s, remaining a popular act when Bonelli entered the picture in 1907. That year, the “Palladium-Item” published, “Humpty Dumpty. Bright, exhilarating, sparkling, hilarious, ‘Humpty Dumpty,’ which will be seen as the Gennett tonight, in all its gorgeous splendor presented by one of the most capable companies that has ever appeared in a musical comedy pantomime in this country, headed by the inimitable clown and comedian, James H. Bonelli, one of the most notable laugh producers of the present day, is a production that should certainly appeal to every theater goer as it is said to be the most complete and refined presentation of Mother Goosie’s fairy story ever given” (Richmond, Indiana, 15 Oct. 1907, page 6).

The “Marysville Journal-Tribune” reported that the Price & Bonelli Company numbered thirty performers, noting they were selected for their ability as minstrel artists of merit. The article advertised, “singers, dancers, comedians, musicians and novelty artists vie with each other to make the performance bright and entertaining. Good comedy is a prominent feature of the programme and has justly earned for Price and Bonelli’s Minstrels the title of Big Laughing Show” (24 Oct 1916, page 4). By 1917, the Price & Bonelli Minstrel Show included six vaudeville acts, with the show lasting two hours and twenty minutes (Columbus Daily Advocate, 15 Dec. 1917, page 1).

To be continued…

Tales from a Scenic Artist and Scholar. Part 809 – The Moonlight Olio

Today’s post continues with the story of New York Studios for one more post. In 1912, the firm brought suit against the owners of the Colonial Theatre. In court they tried to recovered money that was due from F. & H. Schweppe for a “Moonlight Olio.”

A moonlight effect drop at the Scottish Rite in Deadwood, South Dakota.

Backside of drop for the moonlight effect.

I have read many tales of honest and hard-working people who were not paid for their work. They all seem to share a similar story. Only twice, have I had the misfortune of being “stiffed;” pretty good for being in the business more than thirty years. However, for me that was twice too many. I think that the first time was the hardest as I didn’t see it coming. It concerned painted ceremonial settings for the Ancient & Arabic Order of the Nobles of the Mystic Shrine – go figure.

While researching the life and times of Thomas G. Moses, I have repeatedly read the letters of correspondence between scenic studios and various Masonic organizations, begging for money owed from scenery that was already designed or installed. In many ways, I feel quite fortunate with only suffering from two dishonest clients.

Not being paid from a Masonic organization is similar to not being paid from a religious institution; they know better. I always think back to Thomas G. Moses quote, “My experience with Church Committees, of all denominations was such that I almost promised myself never to enter another Church. I found a lot of dishonest men that were pillars of the church and naturally I looked upon them as good Christians, and their word should have been as good as their bond.”

There is an interesting dance that often occurs with a client, or organization, owes money for completed work and has no intention of paying. After a series of delays, a lame excuse is often presented as justifying nonpayment. It really doesn’t matter to the client at this point, as the vendor has already delivered everything promised; they are simply waiting for compensation. So the client just sits, gambling in a way, and hoping that no legal action will ensue. The person owed the money contemplates whether the amount is large enough to incur additional legal fees. In 1912, New York Studios decided the amount was worth it. Their particular story had to do with a client paying for scenery that was not returned in 1911.

On March 18, 1912, the “Star-Gazette” reported “The New York Studio, painters of stage scenery of all sorts has begun action against Schweppe Brothers, owners of the Colonial Theatre on Main Street to recover $90, claimed to be due on a “moonlight olio drop” which was furnished that theater. It is alleged that settlement made with Schweppes at a certain figure providing the local firm would return the drop. The studio says the drop has not been returned” (Elmira, New York, page 3). In other words they rented a drop and decided to keep it. The first time round they lost the case in city court.

On September 4, 1912, the “Star-Gazette” reported “The New York Studios Company, through their attorneys, Baldwin & Allison, have appealed from a jury’s verdict in city court which was rendered in favor of Fred and Henry Schweppe, owners of the Colonial Theatre block. The action has been tried in a city court to recover $90, which the New York Studios Company alleged was due them for a ‘Moonlight Olio.’ The jury held that the Schweppe Brothers were justified in their position. The jury rendered that verdict on July 25” (Elmira, New York, page 11).

Now there is the basic question here: “What is a Moonlight Olio?” There is an ongoing discussion about “olio, the machine” versus “olio, the scene.” In this particular case it is painted scenery, more specifically a backdrop that depicts a moonlight scene or has a moonlight effect. Olio likely refers to the studio design label. Examples of “olio” drop compositions can be found in the Performing Arts archives at the University of Minnesota. The Twin City Scenic Co. collection has an entire box of olio designs, with each label using an “O” for olio, for example, O-89. Olio drops were musical numbers placed between the scenes of a play/melodrama and were independent of the main storyline. Back to the court case…

By 1915, The “Star-Gazette” published the ongoing 4-year saga of the moonlight olio, reporting, “The action grows out of the furnishing scenery for the Colonial. The original claims were settled at 75 cents on the dollar and in the settlement the Messrs. Schweppe were to return a moonlight drop, which is one of the canvas painted drops which make the background of the stage setting. The studios had furnished two olios and it is claimed that the wrong one was returned. From this incident, four years ago, grows the present action for $90. It was tried once in City Court and Messrs. Schweppe were successful. The studios appealed” (1 June 1915, page 7). On June 2, 1915, the verdict was published – $90 was awarded to the New York Studios. The “Star-Gazette” commented, “The $90 is the full amount of the claim but it is not so much the money as a vindication of lawyers that was being fought for” (1, June 1915, page 7).

The $90 fee for the Moonlight Olio is the equivalent of $2,380.44 today. Although this was not a great amount of money for a scenic studio to lose in product, they had to fight this battle in a very visible arena. Their legal actions sent a signal to other theaters and clients that New York Studios would not back down; they would collect money owed, regardless of the amount.

To be continued…

Tales from a Scenic Artist and Scholar. Part 752 – Gallagher and Shean’s Olio “Battle of Bay Run,” 1910

In 1910, Thomas G. Moses wrote, “We did an odd set for Gallagher in vaudeville – three drops set to represent a battleship from any angle of the theatre, very effective.”

Sosman & Landis created a naval-themed olio setting for Gallagher and Shean, the vaudeville comedy team. Their olio sketch was written by Edward Gallagher and called “Battle of Bay Run” (Philadelphia Inquirer, 30 Aug. 1910, page 5). The use of the term “olio” is referring to a musical number, one that is independent from the featured performance.

The vaudeville comedy team, Gallagher and Shean

In 1910, Gallagher and Shean partnered to present “Big Banner Show,” and toured across the country (The Buffalo Enquirer, 27 Dec. 1910, page 10).

Advertisement from the “Daily Record,” (Long Branch NJ), 13 Aug 1910, page 3

Advertisement from the “Kansas City Globe,” 11 Nov 1910, page 7

The program was composed of a two-act musical comedy, “The Girl from Paris,” olios, and several high-end vaudeville acts. Gallagher’s olio “The Battle of Bay Run” featured a naval travesty, in used the setting created by Sosman & Landis (St. Louis Star and times, 31 Oct. 1910, page 3). Another olio for the show featured Shean as “The Dandy Little Dutchman.” Of the vaudeville acts, the Potter-Hartwell Trio, an acrobatic team, in “The Man with Two Heads,” Annette Goldie singing Southern songs, and a “Hokey-Pokey” girl chorus. (The Evening Sun, Baltimore, Maryland, 3 Sept. 1910, page 7).

“The Baltimore Sun” commented on the production, “[It] is really a clever concoction, more of a musical comedy than a burlesque. At times it is very pretentious, both in musical numbers and scenery. Mr. Gallagher, as an American in Paris, is ‘roped in’ by one of those French maidens who conveniently faints, is clever in his manner of handling the comedy and the plot, and has a good voice. Mr. Shean’s droll German dialect is not introduced until the closing number, as the proprietor of a hotel in Switzerland. The girls are some numbers above the average and sing and dance well. With ‘Money,’ a novelty march song, and ‘Three Jolly Scotchmen,’ in which they are seen in the regulation Scotch attire, decided hits are made. Edna Davenport, as the girl from Paris, carried the house with her ‘Espanola Prance.’ The best olio feature was Gallagher and Shean’s naval travesty” (6 Sept, 1910, page 9).

Edward Gallagher partnered with Al Shean early in his career. Shean’s birth name was Abraham Elieser Adolph Schönberg. He was born in Dornum, Germany, the son of ventriloquist Levy Schönberg, and yodeling harpist Fanny Salomons. The couple immigrated to New York City in approximately 1880 with Shean and his sister Miene. Miene, nicknamed “Minnie,” married Samuel “Frenchie” Marx in 1884; they were the parents of the later well-known Marx Brothers.

Moses would also work with the Marx Brothers on a project in 1926, although he was not impressed with the famous performers at all. Of them, Moses wrote, “Made several sketches for Marks Brothers. I have no faith in them. I think them very cheap.”

Gallagher and Shean partnered in 1910, the same year that Moses was hired to create the battleship scene. Each had begun their career as a small-time performer in burlesque and variety shows. Shean initially made a reputation for himself performing in “Quo Vadis Upside Down.”

Gallagher and Shean were later featured in the “Ziegfeld Follies” and other reviews, associated with the popular patter song “Mister Gallagher and Mister Shean.” That song included the lyrics: “Absolutely Mr. Gallagher? Positively Mr. Shean!” and was recorded after their 1922 Ziegfeld Follies performance. The lyrics were credited to Brian Foy with music by Shean.

Sheet music for the song “Mister Gallagher and Mister Shean.”

Sheet music for “Mister Gallagher and Mister Shean.”

Here is a 1922 recording of their song: https://www.youtube.com/watch?v=6bBvYO5FigI

From 1914-1920, the duo briefly parted, but reunited after the urging of Minnie Marx. Their reunion would not last long, however, with the partnership ending in 1925. The dissolution of their partnership was one in a series of challenges that Gallagher faced during the 1920s. Other obstacles included a prolonged dispute with Foy over song writes to “Mister Gallagher and Mister Shean,” difficulties with the Schubert Brothers, and a divorce from his third wife. Gallagher finally suffered a nervous breakdown and later died in a sanatorium in 1929.

Shean, on the other hand, went onto enjoy a successful career on both the stage and screen, appearing in 25 Hollywood films from 1934 to 1943. He would continue performing the patter song, partnering with Charles Einninger for the 1941 Ziegfeld Follies. Here is their performance in front of an Egyptian setting: https://www.youtube.com/watch?v=HkzAEGarl9Q).

To be continued…

Travels of a Scenic Artist and Scholar: The Joplin Scottish Rite, July 2

The Joplin Scottish Rite, July 2

I arrived at the Joplin Scottish Rite by 8:15am. We examined all of the backdrops over the next four hours, with Andrew and the Secretary Richard Lowery handling the lines. Richard worked tirelessly with my husband to raise and lower the lines while I catalogued each drop, photographed painted details, and set entire scenes. To show our appreciation, we took Richard out to lunch at a fabulous local restaurant – the Red Onion.

At the Joplin Scottish Rite, I was like a kid in a candy store, as I uncovered a new scenic studio stencil – The Fabric Studio.

*A Fabric Studio of Chicago stencil, placed on the backside of some Scottish Rite backdrops in Joplin, Missouri.*

*Another Fabric Studio of Chicago stencil, placed on the backside of some Scottish Rite backdrops in Joplin, Missouri.*

It will take many more hours to untangle the compilation of various installations, only some attributed to the Fabric Studio, after closely examining the backdrops in context. The majority of scenery contain a studio stamp for Fabric Studio of Chicago, located at 117 N. State, 4^th floor, Chicago, Illinois. However, the drops were not all produced at the same time or for the same venue. One distinguishing characteristic of many backdrops is the horizontal seams on octagonal-shaped sandwich bottom battens. They are a distinct departure from late-nineteenth century oval battens.

The earliest mention of the Fabric Studio that I have located to date is in 1921; the company was advertising for girls to help in the sewing room (Chicago Tribune, 27 August 1921, page 14). From all appearances, this was second generation scenic studio, like many that emerged during the twenties when scenic artists left the employ of the larger, companies to strike it out on their own. They began competing with the older studios and offering a new aesthetic. The Fabric Studio was a competitor to the Kansas City Scenic Co., of Kansas City. In 1922, the Wellington Daily News reported that two scenery salesman were competing for the contract of a new front curtain and the scenery for the new Memorial Auditorium project: E. L. Gossage of Kansas City Scenic Co. and W. S. Mayer of the Fabric Studios of Chicago (Wellington, Kansas, 25 August 1922, page 1). Gossage would later be the salesman for the Great Western Stage Equipment Company of Kansas City.

The Fabric Studio of Chicago is credited with the painted scenery for the 1922 Orpheum Theatre in Wichita, Kansas. The Wichita Eagle (3 September 1922, page 48) reported the Fabric Studio’s work as including the original asbestos curtain depicting a gold gauze curtain with an exterior garden scene, a Spanish market scene; a silk velour for the valance; a grand drapery; a silver gauze tableaux curtain; a picture sheet; “two exterior oleos and drops;” a complete conservatory set; and a complete Gothic set.

*Head artist for the Fabric Studio of Chicago – P. T. Blackburn, published in the “Daily Times” (Davenport 17 May 1922, page 10).*

The chief artist to the Fabric Studios of Chicago was P. T. Blackburn who worked mostly on the fine plushes, satins, and velours, such as the gold gauze front curtain and the silver gauze tableaux curtain for the Orpheum.

*The new Wichita Orpheum, from the “Wichita Beacon” (3 Sept, 1923, page 27)*

*The front gold gauze curtain produced by the Fabric Studio of Chicago for the Orpheum Theater in Wichita, Kansas.*

*A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

*Detail of painted fabric. A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

*A detail of the painted fabric. A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

By 1949, Blackburn would become the head artist for Paramount Studios and a weekend resident of the San Jacinto mountain resort area (The Desert Sun, Palm Springs, California, 17 May 1949, page 4). In addition to scenic art, he and his department also developed new stage equipment and curtain tracks for scenery painted by Paramount artists.

This explains the exceptional hand-painted silk curtains in the practical opening of some Joplin Scottish Rite scenes. Blackburn was the head of the artistic staff for several stock companies over the years, including the Grand Players from Davenport, Iowa.Another artist on staff at the Fabric Studios was Max Schroeder, who specialized in landscapes. The Fabric Studio’s head installation expert was J. A. Bannon, credited as “an old timer in the show business and has installed scenery in theaters in nearly every city in the United States” (Wichita Daily Eagle, 3 September 1922, page 48).

There is more to report about this unique collection and its current condition, but that will be saved for tomorrow.

To be continued…