A business can change in the blink of an eye, especially when there is a change in command. From Nov. 1921 to March 1922, the Toomey & Volland lost both of its founders; the death of each one was a surprise.
Toomey & Volland Studio Stamp, 1921
On Nov. 14, 1921, the “St. Louis Star” announced Hugo R. Volland’s passing. His obituary notice reported, “Hugo R. Volland, president and treasurer of the Toomey & Volland Scenic Company, died at his home, 5865 Enright avenue, at 4:40 a.m. today. Volland was a 33d honorary degree Mason. Two weeks ago he suffered a nervous collapse. He is survived by the widow, Mrs. Laura Volland, two sons, Louis J. and Victor, and a daughter, Rose. Keystone Lodge, of which he was a member, will be in charge of the funeral Wednesday, from the Scottish Rite Cathedral, Seventeenth and Locust street. It will be preceded by the Knights of Kadosh funeral service at the cathedral tomorrow midnight.”
On November 16, 1921, the “St. Louis Post-Dispatch” reported, “More than 1,000 persons last night witnessed the unusual midnight, or Kadosh, services of the Scottish Rite Masons over the body of Hugo R. Volland, 55 years old, scenic artist, thirty-third honorary degree Mason and Knight Templar, who died last Monday night at his home 5865 Enright avenue. The services took place in the Scottish Rite Cathedral, Seventeenth and Locust streets. The cathedral auditorium was packed to capacity by the time services began. Many persons, unable to obtain seats, found there was into the balcony. At 11:58 o’clock the lights in the auditorium gradually dimmed until the entirely extinguished, except nine candles placed at the head and foot of the bier. The coffin rested directly in front of an iron cross, behind which was the stage. The only remaining lights were in the choir loft, where red lamps burned for the singers. At midnight a deep booming gong, hidden behind curtains on the stage, sounded, and marked the entrance of the first of thirteen knights, each clad in black gown and hood and carrying a lighted candle. As each minute was marked on the gong a knight advanced until thirteen hooded men surrounded the coffin of their late brother. Silence Follows a Bugle Sound. As the last k night sounded from the gallery, and this was followed by a period of silence. Jesse N. Watson, commander, then recited services for the dead and called on the knights who might feel so deeply moved, to step forward and accuse the dead brother of any wrong done prior to his death. One by one three knights addressed the commander, who stood between the stage and the cross, and, in grave tones, declared themselves, were not perfect. Watson then grasped a small hammer and struck three times on the main shaft of the cross, uttering the words, “Then let the grave be ready to receive its dead.” Two knights stepped forward, lifted Volland’s sword from the lid of the casket, and removed the lid. During the ceremony a violin solo by Fred Sultan, accompanied by O. Wade Fallert, organist, was played softly. Two knights surrounding the bier were called upon to advance and relieve the body of ‘petty baubles and cords that bind the hands and his feet. This part of the service was explained, is symbolic of the soul taking flight to another world. At 1:35 a.m. the hooded knights advanced to the bier and, after dipping their fingers in pure water, touched the breast of the dead brother, at the same time pronouncing the farewell: ‘My brother, now thou art dead to this world and livest in the Lord.’ The choir then sang ‘Nearer, My God, to Thee,’ and the nights, extinguishing their candles departed from the auditorium.”
Patrick J. Toomey. From the “St. Louis Post-Dispatch” on March 13, 1922.
Six months later, on March 13, 1922, Volland’s business partner and friend also passed. On March 13, 1922, the “St. Louis Post-Dispatch” announced “P. J. Toomey, Pioneer Scenic Painter Dies.” The newspaper reported, “P. J. Toomey, 71 years old, one of the pioneer scenic painters of St. Louis, died suddenly at 10 a.m. yesterday as the result of an illness with which he was attacked while at mass in St. Roch’s Catholic Church. Rosedale and Waterman avenues. Physicians said death was due to cerebral hemorrhage. Worshipers sitting near Toomey said they did not observe anything unusual in his actions or appearance during the services, until he began breathing heavily and slumped forward in his seat. Several men who were sitting nearby carried him to one of the schoolrooms, next door, and a physician was summoned. Toomey’s son, Dr. Noxon Toomey, was sent for, but Toomey was dead when he arrived. The son said his father complained of feeling ill. Toomey painted the scenes for the first floats of a Veiled Prophet’s parade. He continued this sort of work for 25 years, giving it up recently, when a corporation formed to do the work took it over. He also did most of the painting for some of the old theaters in St. Louis, among them Pope’s, the Olympic and the Century. He at one time painted scenes for the Knickerbocker Theater, New York City. Toomey was one of the founders of the firm Toomey & Volland, scene painters 3127 Cass avenue. His first studio was opened in St. Louis in the Olympic Theatre Building, in 1867. The room in which this studio was located was destroyed recently. Funeral services will be held Wednesday at 9 a.m. at the Church of Our Lady of Lourdes, St. Louis County, Interment will follow in Calvary Cemetery. Toomey is survived by his widow, Mrs. Mary Vogt Toomey, and the son.”
The last line of Toomey’s obituary noted, “Hugo R Volland, the other member of the firm, died Nov. 14, following a paralytic strike.”
In 1924, Thomas G. Moses wrote, “I left home on the 5th of January for a southern trip.”
He was heading south to San Antonio, Texas, to bid on another Scottish Rite theatre contract; one that he would not get. Regardless, the trip was quite eventful. Moses continued, “I reached St. Louis quite late on the Alton road. Found our connecting line had gone on. Awfully cold and storming badly. Managed to bluff my way onto another train and was fortunate in securing the same berth number. Travelled all the next day on our way to Paris, Texas, where we had to remain overnight. We left Paris early the next morning and arrived in San Antonio at 8:21 in the evening, where I spent several days with my old friend Herbert Barnard. We had quite a good showing at his studio.”
Barnard had quite a reputation in San Antonio and should have been the local favorite, but he was not a Mason. Barnard was well known as a designer and director of outdoor festivals. In 1923, the “Tulsa Tribune” reported, “Barnard stands almost unrivaled in America. Despite the number of years that he has been engaged in scenic decoration, his work displays ever-increasing ingenuity and originality. He builds the floats in keeping with the spirit and nature of the event for which they are designed, and in some of his former connections has produced carnivals and festivals of bewildering lavishness and startling originality” (July 22, 1923).
Unfortunately, they were bidding against Toomey & Volland, another southern studio with quite a reputation. Unlike Barnard, however, Toomey & Volland were well-respected for their Masonic Scenery production.
Moses wrote, “Barnard is really entitled to the contract and I did all I could to throw the work at him with the understanding that our company would be sharer in the profits. We finally got our estimate submitted. It was $38,000.00 Volland took the contract at $26,000.00.” It was a big project -114 drops.
This was a pattern that would continue to plague Moses for the next decade. No matter how he figured the numbers, Moses often came in as the highest bidder, the projects quickly slipping thru his fingertips.
The Scottish Rite Cathedral of San Antonio was completed in 1924 at a cost of $1.5 million.
The stage at the San Antonio Scottish Rite Cathedral
In 1923 Thomas G. Moses wrote, “During June, Mr. Hall and Mathis came down from Chicago to see me, on their way to San Antonio. I will have a chance to get in on that job with Barnard, who is entitled to the work, being a member and boss of the Shrine stunts.” Moses was referring to Herbert Barnard, a well-known scenic artist and art director in San Antonio, Texas. In 1923, newspapers listed Barnard as a pageantry expert whose work was famous throughout the south. Later that summer, Moses later wrote, “Left El Dorado for Tulsa, Oklahoma, spent a day with Barnard and saw the city. Enjoyed it immensely.”
In 1923, Barnard was secured by the parades and pageant committee of the International Petroleum Exposition of Congress to supervise the presentation of the three spectacles which were given in connection with the big oil and gas show in Tulsa, Oklahoma.
From the “Daily Oklahoman,” 12 Oct 1923, page 11.
The Expo was held in Tulsa, Oklahoma, that July. The “Tulsa Tribune” described the Barnards spectacles on 29 July 1923: “A second entertainment feature will be the brilliant pageant staged during the week under the able direction of Herbert Barnard, of San Antonio, Texas, well known scenic artist. The first of these will be a fashion show, the most gorgeous ever presented in the southwest, given though the co-operation of the merchants of Tulsa. The second pageant will tell by means of floats the history and development of the petroleum history, from the earliest discovery and use of oil by the ancients down to the present day. The third pageant will take place on the last night of the exposition and will lead into the coronation of Queen Petrolia. Every state and every foreign nation represented at the congress will be requested to enter one of its most beautiful women as a princess, and from this number the Queen will be selected. The crowning of the Queen, a beautiful and impressive spectacle, forms a fitting close to the first annual international Petroleum Exposition and Congress. “
On July 22, 1923, the “Tulsa Tribune” reported, “Barnard’s work as a director of festivals is famous throughout southern states. For many years he has had charge of San Antonio’s annual Fiesta San Jacinto, designing and supervising the construction of the floats for the pageant, the ‘Battle of Flowers,’ and setting the ceremony for the coronation of the queen. Previous to this, he was connected with the Mardi Gras at New Orleans, where his brilliant work excited much favorable comment. His remarkable versatility is displayed in the number of varied activities in which he is engaged in San Antonio. An artist as well as scenic director and designer, he has decorated three of the largest theaters of the Texas city, and is now under contract to make the stage scenery in a number of the junior high schools. He has also been connected with the establishment of some of the most prominent architects of San Antonio.
“As director and designer of outdoor festivals with their floats and other spectacular trappings. Barnard stands almost unrivaled in America. Despite the number of years that he has been engaged in scenic decoration, his work displays ever-increasing ingenuity and originality. He builds the floats in keeping with the spirit and nature of the event for which they are designed, and in some of his former connections has produced carnivals and festivals of bewildering lavishness and startling originality.”
In 1921 Thomas G. Moses traveled from Chicago to San Francisco for a large project. He wrote, “After four hard weeks of hustling, we got the big show ready… the big Shrine show opened October 17th and it was certainly a big hit. Thousands could not get near the building.”
Interior for Shrine Circus with scenery painted by Thomas G. Moses of Sosman & Landis studio. Image from the “San Francisco Chronicle,” 18 Oct 1921 page 13.
Moses was referring to the San Francisco Shrine Circus and Arabian Fete that ran from October 17 to October 25, 1921. The program was changed nightly and included exhibitions by wire and trapeze artists, contortionists, juggler, acrobats, Japanese jugglers, hoop roller, Spanish dancers, lion tamers, and Hawaiian singers and dancers (“San Francisco Chronicle,” 2 Oct 1921, page 6). Popularity contests were also held, with the crowning of a Queen and selection of the most beautiful baby boy and girl. The “San Francisco Chronicle” announced, “There is entertainment to suit all tastes. The first night’s vaudeville show was one of the many thrills not the least of which was the tight rope performer’s offering on a rope stretched over the heads of the persons on the floor from balcony to balcony” (San Francisco Chronicle, 18 Oct 1921 page 13).
The prelude to the Shrine circus included a large parade, winding from Islam Temple on Geary Street to the Auditorium, by way of Geary, Kearny and March Street. One of the parade floats was a “Sphinx” mounted on a truck that announced the dates of the circus, October 17 to 25. Fed fezzes, red coats, and white pantaloons were work by members of the Islam band and patrol, leading the way for the officers of Islam Temple. The parade also featured “1000 visiting Shriners, the Athens Temple divan with its band and two patrols from Oakland. The “San Francisco Chronicle” also described, “The “caged novices,” six men in grotesque costumes with their shrill shouts and weird antics followed” Charlie Chaplin, a group of circus performers and a menagerie exhibit of mountain cats and lions brought up the rear of the procession” (18 Oct 1921, page 13).
An article headline in the “San Francisco Examiner” announced, “20,000 Attend Shrine Circus in Auditorium,” reporting, “The Shrine Circus opened at the Exposition Auditorium here last night with an attendance of more than 20,000 persons. The circus, which is for the 1922 session fund will continue through next Tuesday. The decorative scheme of the interior of the auditorium represents an Arabian village” (Oct. 18, 1921, page 14).
The “San Francisco Chronicle” described the interior on opening night: “The Auditorium has been transformed into an Arabian village, populated and conducted by hustling Shriners and their friends. The decorations are gorgeous. Balloons of many colors are strung around the balcony. The many booths housing the concessions, where one pays good money gladly for the cause, have facings of Arabian architecture. In the main floor is a kiosk for musicians. Atop it is a glowing ball of facets which reflect a variety of brilliant colors when played upon by spotlights” (18 Oct 1921 page 13).
The “San Francisco Examiner,” described: “Color, color everywhere and so many San Franciscans inside and outside the Civic Auditorium that you couldn’t get within a hundred feet of the building. That was the situation at 9 o’clock last night when the big street parade of the Shrine Circus reached the Auditorium. They say the Shriners sold 100,000 tickets for the big show – apparently the arm of ticket buyers all turned out for the big night. Inside – if you were lucky enough to get inside – was a glittering midway which circled the building. At one end, on the stage, the circus took place. The Shriners in their colorful costumes of red and green and blue and gold and every other hue in and out of the rainbow, paraded around the midway. Then the show started, Mexican acrobats, tumblers, high wire artists and clowns in rapid succession…More than $20,000 was spent in transforming the Civic Auditorium into an Oriental City. Islam Temple of the Mystic Shrine had done its work well.” The purpose of the Shrine Circus was to raise $250,000 for the entertainment of the Imperial Council of the Shrine which met in San Francisco the following June” (Oct. 18, 1921, page 3).
Horace H. Buell and Nina Giles Buell pictured in the “Wichita Daily Eagle” on Oct. 12 1911.
While looking for information about the Buell family I came across an article with both Mr. and Mrs. H. Harry Buell credited as the “Designers and Builders of Floats.” I have previously missed this article because the newspaper credits Mr. H. “Harry” and not H. “Hervey” Buell. This is the scenic artist Horace Hervey Buell, his wife Nina Giles Buell and children Mabel and Horace C. Here is the article from the “Wichita Daily Eagle” on Oct. 12 1911. This is simply a wonderful description of a community event and the artistic abilities of the Buell family.
“Work of Art is Electrical Street Parade.
Ten Floats Representing Historical Events, Seasons, ima and Civilization Prepared at Great Expense.
Parade Begins at 7:30 Thursday Night.
Line of March is Announced and Persons are Selected to Participate in Realistic Representations.
The Great Electrical Float parade which has been heralded far and near as the biggest conceived and built is now only a few days off, and the public is soon to be allowed to see the floats in all their glory and beauty. Months have been spent in the preparation of these floats but the tie has been well and skillfully used, and they are now completed and await only the word of the marshall of the parade to reveal their glories to the gaze of an admiring throng. Citizens of communities hundreds of miles from the Peerless Princess have signified their intention of attending the celebration of her Prophets and they will be well repaid for their trip.
There will be a slight change from the usual program and line of march. The parade will start promptly at 7:30 p. m. Thursday, October 12th, from the corner of Central and Main where it will be formed.
The parade will take its course south on Main to Lewis street, two blocks below Douglas; will double back on Main and Douglas; thence it will proceed east on Douglas to the Santa Fe tracks doubling back on Douglas to Market street, turning north on Market it will continue to First street where the parade will disband. Those having children in the parade will meet then in the second block on Market street after the conclusion of the parade.
As has been advertised so extensively, the parade will have in addition to the wonderful and unusual beauty, and educational value in their sequence, historically speaking. The first float representing the seasons covers all time, in that it represents the completed year and the completed cycle of existence, Following this, will come in detail the nine great characteristic period of human history as typified in the characteristic thought or country, or idea which dominated that period. In order that one seeing the trade may get his full value, it is suggested by committee that this article be clipped from the Eagle and taken to the parade.
The order and significance of the parade, together with a complete description of the floats and those privileged to occupy positions of hone upon them, follow. At the head of the parade will come Chief of Police, George T. Cubbon, with a pantoon [sic.] of mounted police. Following the pantoon [sic.] of policemen will be a pantoon [sic.] of cowboys from the stockyards and packing houses led my Marshall Fredericks. Following this body of Wichita Boosters, who represents one of Wichita’s greatest industries, will come the band of Oxford, Kansas, and immediately following this will be the first float, that of ‘the Seasons.’ This float is an entirely new conception of Mr, Buell, the official designer, and is one that will long be remembered. It is built in the form of a monument with four compartments in the base, representing Spring, Sumer, Fall and Winter. Those representing Spring will be Wilna Armstrong and Charles B. Payne, Harriet and Josephine Booth with be in the compartment of Summer. Raymond and Margaret Casey will represent Autumn and Elizabeth and Alfred Campbell impersonate the spirits of Winer. Surmounting these compartments will be characters representing the four seasons of human life. Anna C. Brown will represent childhood; Genevieve Saunders, Youth; Mrs. Gray and her baby will picture Motherhood; and Mrs. L. S. Carter will represent maturity of life.
Float Number 2 represents the ancient Oriental civilization, of which there were several, and all of which flourished before the Grecian era. History reveals the fact that the primal characteristics of the early days of any race was Religion, and this is portrayed in a striking manner. The Oriental idea is given by two immense pyramids, standing alone amid stretches of glittering sand. The sphinxes of Egypt and the winged bulls of Persia are the embellishments if the four corners of the floats. In a beautiful oasis in the midst of the desert appear the characters of the ancient religions. In a temple which will slowly revolve, spear Moses, represented by James Lawrence; Zoroaster by Dan Thurston; the priest of Buddha by Randall Cline; and the worshipper of Isis by Victory Mead. As an escort to this float will come the patrol of Midian Temple, under captainship of C. A. Baker, and accompanied by their inimitable band from the deserts of Arabia.
Float number 3 will take up the next era of human development and will represent the power and glory of Rome. This float has been skillfully designed and embodied a thrilling and lifelike picture if the Eternal City, as it burned in the time of Nero. The float is very gorgeous , and is one upon which the most action will take place. Nero, impersonated by Edwin Johnson, will sit high above the tumult upon his throne, enjoying the terrible sight. The Roman soldiers impenetrable in their reserve and steadfast in their discipline, will be represented by Jim Davidson, Fred Dold, Walter Innes, Theodore Johnston, Robert Campbell and Paul Johnston. Among the terrified populace, rushing in horror from the conflagration, will appear Marshall Mueller, Lloyd Taylor, Arthur Wolf, Gladys Wallace and Elizabeth Avey. A guard of Roman soldiers will be furnished by the Y.M.C.A.
Following the development of Rome, the world fell into a period of desuetude and decay. Learning in and the arts of civilization seemed to have disappeared, and savagery and superstition were rampant. The fourth float represents a scene in the forests of Germany among the old Saxon ancestors, before they assumed the habits and habiliments of civilization. Amid the forests, peopled by wild beasts of various sorts, will appear the Druids in their fire worship, before their rough stone altars. The Druids will be represented by Howard Anderson, and Nellie Hewey, Hortense Thompson and Milton Hutchinson. The Modern Woodmen of America will furnish and escort, i uniform, for this float.
Next in order is the Wichita Union band.
Float Number 5 will represent the Middle Ages and will represent a scene from King Arthur’s court. Irwin Bleckley will impersonate King Arthur and will be attended by two princes, Jack Stewart and Walter Taylor, and two guards, Neal Kirkwood and Rolle Thorpe. At the opposite end of the float will be the representation of knighthood rescuing womanhood from oppression. Orio Thorpe will be the Knight, and Ruth Mueller the fair damsel to be rescued. The dragon is pictured as a terrible creature, Harold Clark will see that the dragon does his duty.
Float Number 6 is a most beautiful allegorical representation of that period of awakening and development commonly called the Renaissance. This float of a beautiful galley, or ship. The oarsmen being represented by Gertrude McCullough, Ida Wilson, Ruth Heppe, Katherine Lewis, Genilee Gregg, Marion Dunn, Nannie Brubacher and Koa McComb. The pilot will be Gladys Warren. The spirit of the Renaissance, Katherine Stewart, while Hazel Johnson will impersonate the Herald which proclaims the coming of an enlightened age.
The seventh float will represent the landing of the Pilgrims. This float is certainly a work of art. A beautiful picture of the rugged, rock-ribbed coast, upon which are gathered a band of Pilgrims, while in the distance, in beautiful perspective rides a little bark, tempest-tossed upon the turbulent waves. the pilgrims will be Homer Hutchinson, Lawrence Rorabaugh, Grosvenor Charles, Aldrich Lasen, Robert Johnson, Marian Hutchinson, Nora Woods, Lillian Bailey, Helen Moore, Marie Gilbert, Lawrence McComb. The Indian will be impersonated by M. W. Longnecker.
Following this float will come the Moose band of this city.
The eight float will represent the United States, and will be one of the most beautiful and unique floats every seen anywhere. The idea of this float is ‘Zangwell’s idea of the ‘Melting to.; Columbus will be seated upon and immense throne and will be attended by four soldiers, Upon the front of the float are Liberty, Justice and Equality, represented by Helen Charles, Edith Saunders and Stella Armstrong. In the center fo the float is the Melting Pot from which arises the American flag as a result of the blending and amalgamation of all races.
The Ninth float will represent Kansas, and the spirit of the commonwealth is to be Miss Edith Gilbert, She, as queen, will be attended by her maids of honor, Anel Saunders, Francis A. Brown, Henrietta Allen, Helen Johnston, Cecil Gilbert, Dorothy Booth and Francis Williard. The center of this the float will be an immense cornucopia filled with overflowing products of the state. The best fruit in all lines has been contributed and will make a memorable show, presiding in all this display will be Pauline Ayers and Leon Cain.
The last float will of course be the climax of all ages and will represent Wichita, the Peerless Princess. The form of the float will be a monument to the greatness of the city. An immense granite monument has been built, surmounting which will be Miss Mabel Buell, representing Wichita. Upon the four wings of the base stand an Indian by the Buffalo he has killed, represented by Horace C. Buell, and the cowboy with his trappings, represented by David Jackman. These two representing the pioneers of the valley. Upon two other wings appear the mechanic and the traveling man represented by Phi Patterson and Harry Schuler. These representing two of the factors of the present financial greatness, Upon the front and rear of the float appear Bessie Applegate, May Weiss, Evelyn Rorabaugh and Helen Booth. representing Fairmount, Mr. Carmel, Friends and the High School, while Katherine and Margaret Ayres appear as pages to the queen.
In addition to these, the following gentlemen will be the marshals of the parade: J. A. Hopkins will be chief marshall of the floats, hill Messrs, Jay Gill, R. B. Campbell, Paul Wall, J. N. Chappie, R. E. Bird, C. L. DeLong, M. E. Garrison, Walter Parrott, James Crossfield and others will assist by being marshals with each float.
The committee consisting of G. M. Booth, H. W. Stanley, Lyman Woodruff and C. L. DeLong have worked tirelessly at the making a success of this parade, as of the other features of the carnival, and they feel that the result has justified the efforts put forth. They believe that no better float parade was every put on by any city. While this committee, however, has had supervision of the entire carnival, the particular task of designing building and decorating these floats has been delegated to H. Harry Buell. Mr. Buell is an artist of much ability and has in times past, as in this present instance done some exceedingly creditable work along artistic lines. Mr. Buell has been most ably assisted in the painting and decorative work by his daughter Mabel Buell and his son Horace Buell, who, seem to inherit a wonderful talent along this line. The detail work outside of the painting and construction, and of costuming has been left almost whole to Mrs. Buell, and she has made a great success of her work as Mr. Buell has at his. Wichita is to be congratulated upon having artists with the ability of the Buells.”
In 1918, Thomas G. Moses wrote, “I made a lot of models and
sketches for floats for Labor Day.
Hamilton came out from New York to superintend the work. He always drops into a fat job somewhere.” Moses
was referring working with William F. Hamilton again. The project was floats
for the San Francisco Labor Day. The parade of 1918 focused on labor unions and
worker’s rights, with eighty-seven unions participating in the parade that day,
spread out over seven divisions.
Article about the San Francisco Labor Day parade in 1918, From the “San Francisco Chronicle,” 3 Sept 1918, page 11.Detail from the “San Francisco Chronicle,” 3 Sept 1918, page 11.Detail from the “San Francisco Chronicle,” 3 Sept 1918, page 11.Detail from the “San Francisco Chronicle,” 3 Sept 1918, page 11.
It has been more than two years since I explored the life of
scenic artist Will Hamilton and the short-lived firm of Moses & Hamilton.
It is time to recap, because I think that working with Hamilton during the
summer of 1918 prompted Moses to tender his resignation to Sosman & Landis
by that fall. Hamilton may have reminded him that better opportunities were lurking
elsewhere, and that Sosman & Landis was a sinking ship.
Less than a decade later, the two established Moses & Hamilton
in New York. The partnership lasted
until 1904 when Moses returned to Chicago to become vice-president at Sosman
& Landis studio. When Perry Landis had to leave the company for health
reasons, Sosman assumed many of the administrative and marketing duties. Therefore, someone was needed to supervise
all design, construction, painting and installation.
Moses & Hamilton advertisement in Julius Cahn’s Official Theatrical Guide, 1903-1904.
It had been difficult for Moses to leave in 1904. That year
he wrote, “When I had to tell Hamilton, I almost gave in to stay with him, for
he was awfully broken up over it.” Moses was leaving a good friend, a good
crew, and good work, hoping for something even better upon his return in
Chicago. This was especially difficult as the theatrical center of the United
States was shifting to New York.
Moses & Hamilton had assembled a paint crew at the
Proctor’s 125th Street Theatre only three years earlier. Their staff
included Ed Loitz, Otto Armbruster and Al Robert. Projects were plentiful, and consistently
spread across three theatres: The American Theatre, Proctor’s Twenty-third
Street Theatre, and Proctor’s 125th Street Theater. Thomas G. Moses was the lead scenic artist at
the American Theater, William F. Hamilton was the lead scenic artist for
Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic
artist at Proctor’s 125th Street Theatre.
For three years, Moses & Hamilton had more work than
they could handle, producing scenery for opera, vaudeville, and other
entertainments. Their work for Frederick Thompson at Luna Park included “A Trip
to the Moon,” “20,000 Leagues Under the Sea” “War of the Worlds,” and “Fire and
Flames.” A few of Moses & Hamilton’s Broadway designs included “Under the
Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey”
(New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand
Opera House from August to September, 1904), “The Medal and the Maid” (Broadway
Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The
Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls”
(Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904). Their work was
sought after by Helena Modjeska, John C. Fisher, Henry Savage, and other
well-known theatre personalities.
Another advertisement for Moses & Hamilton.
Even after Moses & Hamilton folded, the two continued
working together on a variety of projects across the country until 1909. Moses remained
at Sosman & Landis, while Hamilton worked at New York Studios, the eastern
affiliate of Sosman & Landis. However, as business picked up at Sosman
& Landis, it became more and more difficult for Moses to do any outside
work with Hamilton. Previously, he
earned extra income by taking on these outside projects. Part of the perks was
his being able to use the studio for night work. However, as Sosman &
Landis took on more and more work, hours were extended into the evening,
prohibiting outside projects.
So work slows down during the war years, and Hamilton comes
around again. It was no coincidence that Hamilton shows up in July and Moses
resigns as president of Sosman & Landis less than two months later. Moses
wrote, “September 1st, I resigned as President of the Sosman and Landis
Company which severs my connection with the firm after thirty-eight years of
service. I joined the New York Studios
and expect to get a studio and an office to do business.” On September 2nd
Moses recorded, “There was a big Labor Day parade and such a crowd. Mama and I went down but were very careful
not to get in the thick of it.” That was his first day of freedom from Sosman
& Landis, his first day without the worry of being president at the company.
Part 466: Patrick J. Toomey’s Allegorical Float Designs for the Wichita Carnival and Fall Festival, 1900
Wichita Carnival and Fall Festival button, 1900
The “Wichita Beacon” described the allegorical nature of each float in the Wichita Carnival manufactured by P. J. Toomey (5 Oct. 1900, page 5). Here is conclusion of the article introduced yesterday:
“The ‘Artist’s Dream’ float is the original painting by A. E. Begas. Reclining low upon a couch is a sleeping figure upon who groups of cupids shower roses and encircle rounds of graceful glee. The absorbing vision of ‘The Artist’s Dream’ is the incarnate spirit of motion poised upon a pedestal of light and executing a serpentine dance.
Advertisement from “The Wichita Beacon” (Wichita, Kansas), 5 October, 1900, page 5.
The ‘Vitality of Mother Earth’ float was painted by M. A. Wagen. The beautifully designed group symbolizes Mother Earth making her yearly triumphal round in a jeweled chariot drawn by two prancing steeds at whose touch nature yields the bounties of life.
The ‘Policco Verso’ float is by that well known painter J. L. Gerome. The Roman emperor and his attendant courtiers watch from the imperial balcony of the Roman Colosseum a contest of arms and strength between a group of gladiators and the arena below. One of the gladiators has vanquished two of his opponents who raise their hands to the mighty arbiters of their fate, begging mercy upon their lives. It pleases the cruelty and pomp of the court best to see the vanquished suffer the extreme penalty for the lack of prowess, and the verdict is ‘Policco Verso’ – or ‘thumbs down’ meaning no mercy for the fallen and the victor is thus compelled to extinguish the life of his adversaries and thus help “to make a Roman holiday.”
The float ‘Rock of Ages,” is by J. A. Oertel. This picture has become a familiar and favorite one in many of the humble as well as the sumptuous houses of the Christian land. It impersonates the hope for a glorified mortality. It is the Christian race clinging to the cross through every tempest of fate and struggling souls stretch out to reach it through the whirlpools of temptation.
‘Fairies Chariot,’ the float by Mme. Madeline Lemaire, is a fanciful conception which shows the occult power and subtle influence in the fairy folks at they speed by in their golden chariot drawn by beautiful large tigers which the magical spell has changed from ferocious beasts of the desert into the docile animals charmed to do the fairies bidding.
The float ‘Lucretia Borgia’ gives a fine scene from the life of that personage and was painted by that well known artist, H Raulbach. Lucretia Borgia, who was of noble Italian birth, and had many near relatives in high ecclesiastical offices is entertaining a prince cardinal andhis suite by displaying her accomplishments in dancing.
The float, ‘Gulliver in Broadbingnag,’ by R. Redgrave. The famous Dean Swift in his account of ‘Gulliver’s Travels Into Several Remote Nations of the World,’ gives vent to his fondness for satire by bringing the people of his day and his country to compare themselves in wisdom and strength to the primitive and sometimes untaught races of whom he is supposed to have discovered and visited. In Mr. Gulliver’s accidental storm-tossed journey’s to Broadbingnag in the South Seas, he finds himself among a race of giants averaging about sixty feet tall in whose country everything in nature and art is the same gigantic proportions as themselves. Gullliver, though a typical Englishman of the eighteenth century is a mere pigmy in their sight, and is placed upon a table thirty feet high to be viewed as a curiosity. The giants come from far and wide to see him but some find him so diminished that it is necessary for them to use spectacles to see him in any degree of perfection. They decide that he is just like a human being, though infinitely smaller than is usual.
In ‘The Garden of Love,’ is another float by C. Schienigle. It represents a garden terrace, where Dan Cupid has secreted himself and is about to aim his relentless darts at several of the young people gathered in this ideal retreat to enjoy the pleasures of music and conversation. Cupid’s aim will be true and decisive and there will be some joyous awakenings.
‘Evening,’ by C. Gleyre, is a graceful barque gliding in a smooth stream where music and song accord with the ripple of clear waters, the gentle evening breeze bags the sail and the oarsman languidly plies his car. The pleasure seekers in the boat are quietly absorbing the quiet and beauty that abound upon the breast of nature.
The ‘Apothesis of Louis XIV.’ is another resplendent float showing a chariot drawn by winged horses and heralded through time and space by royal trumpeters. The insignia of divinity is about to be placed upon his brow by the hand of Fate. Luxury and profusion follow in his wake.
‘Shakespeare’s Reciting Before Queen Elizabeth,” is a float by H. H. Slimarski, which depicts a scene of regal splendor. Elizabeth sitting upon her throne chair attended by ladies and gentlemen of the court is listening spellbound to the Bard of Avon recite passages from his plays which he then realized were to become immortal and would be read by future generations and be admired as long as the English language endured.
The ‘Bull Chariot’ is a handsome design by M. A. Waagens. This from a marble group and represents a scene from the ancient heathen rites of the Romans, when processions in honor of the gods and goddesses were frequent and always imposing.”
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Part 465: Patrick J. Toomey’s Electrical Pageant for the Wichita Carnival and Fall Festival, 1900
Wichita Carnival and Fall Festival, 1900
In 1900, the “Street Railway Journal” reported, “The possibilities in the way of electrical decoration and illumination in street parades afforded by the overhead wires of a trolley road have been proved in several cities, particularly New Orleans, and views of the floats use din the Mardi Gras processions in that city last winter were published in the Street Railway Journal” (August 4, 1900, page 705). The article continued, “The unlimited current available for lighting and power to propel the flats makes it possible to secure finer spectacular effects than would otherwise be possible. This was shown during the special carnival, held June 28 in Milwaukee, in which trolley current was used for this purpose to a greater extent probably than ever before, and which was generally regarded as one of the most successful night pageants ever held on this continent.”
Milwaukee Carnival, 1900
Milwaukee Carnival electric floats by Toomey, 1900
Toomey was involved with the electric floats in Milwaukee since 1898, when he received the news of Noxon’s death. By 1900, the Milwaukee Carnival consisted of twenty parade floats, placed on electric trucks, and lighted with 6000 lights of different colors. A variety of subjects, they were “presented without any aim at continuity of idea, but solely for their picturesque beauty and scope for fantastic display of form, color, and effulgent light.” By 1915, San Francisco’s electric parades would boast, “the first electrical pageant to be staged in the city independent of street car current;” the currents for the parade float lights were supplied by automobiles and storage batteries (San Francisco Chronicle, 5 Dec. 1915, page 61).
Veiled Prophet Parade, 1883
Pageant of the Veiled Prophet, 1883
Toomey’s production of parade floats started in 1878 for the Veiled Prophets procession. His unique floats became a staple for Mardi Gras in New Orleans, the Veiled Prophets in St. Louis, and Carnivals across the country. Illuminated parades emerged appeared all over the country, including Milwaukee, Wisconsin; Springfield, Illinois; El Paso, Texas; and Wichita, Kansas. The Wichita Beacon provided detailed accounts of the electric pageant in that city, giving us great insight into the design and construction of Toomey’s floats.
Noxon & Toomey float design for Veiled Prophet parade
In 1900, the “Wichita Beacon” included an article concerning the City’s contracting P. J. Toomey to design and manufacture the electric pageant for the upcoming Wichita Carnival and Fall Festival (14 July 1900, page 5).
Here is the wonderful description of Toomey’s artistic contribution to the upcoming Wichita Carnival and Fall Festival in 1900; the event was scheduled for October 1-6.
“Contract Closed.
Electrical Pageant Will Be Given Carnival Week.
Attractions for Midway About Secured.
The Wichita Carnival and Fall Festival association yesterday closed a contract with P. J. Toomey of St. Louis for the production of his electrical pageant in this city on Friday night during street fair week. The floats, twelve in number, will be built at once by the Noxon-Toomey Scenic Art Company of St. Louis.
Sixty-five costumed characters will be required on the floats, besides 120 attendants on foot. The floats will be lighted by incandescent lamps, 150 being placed on each float. The floats will be mounted on street car trucks and run over the lines of the street railway company. The parade will be seen on Douglas and Main streets and will counter march to the starting place.
Outside of the regular scenic floats, four floats will be provided for bands. The parade will be brilliantly lighted by colored lights and the costuming of the attendants will be elaborate. The floats will be run about 200 feet apart.”
The carnival association also contracted three searchlights to be used to illuminate the streets at night, besides the other electrical decorations. A Carnival queen was be crowned with a very elaborate ceremony. “The Anthony Bulletin,” reported that colored calcium flashes would be thrown on the scenic effects and upon a chorus of one hundred female voices, dressed in white and arranged to show a red, white and blue scene” (The Anthony Bulletin, Anthony, Kansas, 6 Sept, 1900, page 4). The state of Kansas was billed as the “Italy of America,” and Wichita “the Peerless Princess of the Plains” (The Kingman Journal, Kingman, Kansas, 21 September 1900, page 5).
On October 5, 1900, the “Wichita Beacon” credited Toomey with designing and constructing the floats in St. Louis, working on them “with great care and painstaking for several months” (5 Oct. 1900, page 5). Their cost for the twelve floats and their transportation over the Missouri Pacific railroad was reported to be several thousand dollars. Each float, because of its size, occupied a special flat car. The article continued, “The street car company has arranged four cars to accommodate the various bands that will furnish the music for the occasion and these also will be trimmed and will be a feature of the grand pageant. The latter will form on Douglas, just east of the Rock Island track and at eight o’clock sharp will move west on Douglas to Main, north to Oak street and, returning over the same route, will end at the starting point.
The electricity will be supplied by the street car trolley wires. The various persons who will participate in the affair will be tastefully costumed to represent the characters they assume for the occasion in the great variety of subjects.”
Tomorrow, I will include an article that described each individual float designed by Toomey during 1900. There are amazing!
Patrick J. Toomey, from the St. Louis Post-Dispatch, 2 April 1896, page 5
In 1896, the St. Louis Post-Dispatch featured Patrick J. Toomey, including a brief biography and illustration. The article reported, “Patrick J. Toomey was born in Limerick, Ireland in 1854 and came to St. Louis with his parents as an infant. He received his education at the Christian Brothers’ College and in the public schools. His first employment was in the retail grocery trade. After a few years he found this work uncongenial and apprenticed himself to scenic art under Mr. Thomas C. Noxon at Deagle’s Varieties. With his tutor, four years later, he formed the partnership of Noxon & Toomey, continuing in the same line ever since. In connection with Mr. Noxon, Mr. Toomey has been the scenic artist at the Olympic Theater and Grand Opera House for over twenty years. In 1886, he married Miss May Vogt, a daughter of Dr. Wm. Vogt of Iowa City, Iowa” (St. Louis Post-Dispatch, 2 April, 1896). The couple’s only child was named Noxon Toomey, who grew up to become a doctor.
Patrick J. Toomey, 1908
Patrick J. Toomey’s wife, Mary Vogt, 1908
Noxon Toomey, the only child of Patrick J. Toomey and Mary Vogt. 1908.
I was curious about the venue where Toomey apprenticed himself to Noxon – Deagle’s Variety Theater. George Deagle’s Varieties Theater introduced musical comedy to St. Louis with “The Black Crook” in 1867 and briefly took the lead as one of St. Louis’ five theaters at that time. Various documents placed the location of the venue at Sixth Street near Locust. Little is known of Deagle’s Varieties Theater, and there are only a handful of advertisements for shows from 1876. Interestingly, an article from 1882 mentions that Deagle managed the only variety and spectacular house in pre-Civil War St Louis “then located where the present Grand Opera House now stands” (St. Louis Post-Dispatchm 20 March 1882, page 5). It appears that Deagle managed the St. Louis Opera House from 1865 until 1872, when he set his sites on another venue. In 1872 he rented the Olympic Theatre of St. Louis for a production of “Uncle Tom’s Cabin.”
The Buffalo Courier reported that George Deagle (1822-1908) was “the oldest theatrical manager in the country, who many years ago owned the Deagle Varieties Theater” (Buffalo Courier 14 Oct. 1900, page 17). Deagle later managed the People’s Theatre in Chicago too.
As an interesting side note, his granddaughter Ann Murdock took to the stage in 1908 at the age of 17, making her debut in “The Offenders.” She noted that her grandfather, George Deagle, was the manager of Deagles Varieties in St. Louis fifty years ago (New York Times 29 Oct. 1908, page 9), placing the establishment’s origin in the 1850s. Ann Murdock’s mother, Terese Deagle was also an actress, and one of the first leading women employed by Charles Frohman. Her father was a manager for many years at the American Theatrical Exchange (The St. Louis Post-Dispatch 12 June 1921, page 3). I became fascinated with this theatre family, but back to Toomey.
In 1922, the St. Louis Post-Dispatch placed Toomey’s birthdate in 1851 and reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14). Toomey was best known, however, for his creation of the first floats for the Veiled Prophet’s parade and continued this sort of work for 25 years, only giving it up shortly before his death. Toomey was famed as an “electrical float builder” known also for his work at the Mardi Gras parade in New Orleans and the Milwaukee Carnival (Wichita Daily Eagle, 13 July 1900, page 6). He did most of the scene painting for the old theatres in St. Louis, including Pope’s the Olympic and the Century. At one time, he also painted for the Knickerbocker Theatre in New York City.
Part 457: William F. Hamilton and an Evolving Form of Art
In 1914, W. F. Hamilton’s name appears in “The Brooklyn Daily Eagle” (10 May 1914, page 48). The article reported that Hamilton “painted several thousand feet of profile and hanging effects for a carnival.” This was for the big Actors Fair. The Actors Fair was produced by an organization of players who banded together as the “White Rats.” Their club was located on West 46th Street in Manhattan. The Actors Fair ran for eighty days and included burlesque, vaudeville, circus, sideshow, a medicine troupe, musical comedy, minstrel shows and grand opera. W. F. Hamilton’s painted effects began at the entrance where he created a miniature replica of the average one-night stand town hall. By this time, Hamilton was still living in New Jersey, but he was working all over the country.
In 1918, Hamilton met up with Moses again when he was superintending work for Labor Day floats in San Francisco. Side note: this was for the same parade that the Carpenters Union’s did not include a float as it was part of their Patriotic Act. “The San Pedro News Pilot” reported, “the carpenters turned out in goodly numbers, wearing their white-bib-bed overalls, a big sign being prominently displayed in their division, which read: “Instead of constructing a float the carpenters have donated $25 to the Red Cross” (Vol. 5, No. 284, 4 Sept. 1914, page 2). Much of the San Francisco Labor Day Parade of 1918 focused on labor unions and worker’s rights. There were eighty-seven unions participating in the parade that day, spread out over seven divisions – each with separate Marshals! Some unions who lined up in the first division of the parade were the Riggers, Machinists, Draftsman and Painter’s unions, while the second division included the Theatrical Federation, Stage Employees, Moving-Picture Operators, Bill Posters and Musicians. The same article in “The San Pedro News Pilot,” continued, “A large and gaily decorated palette, which entirely covered an automobile, constituted the feature of the Painter’s Union float, followed by members of the union.”
San Francisco Labor Day Parade 1918, from the “San Francisco Chronicle,” 3 Sept. 1918, page 11.
San Francisco Labor Day Parade 1918, from the “San Francisco Chronicle,” 3 Sept. 1918, page 11.
This is a time when scenic artists and painters were moving in droves to California, following a variety of projects. You can see the shift of scenic artists throughout the country at various times during the late nineteenth and twentieth centuries. After the 1871 fire, Chicago draws many of the artists from the eastern United States, as there were so many opportunities during the rebuilding and expansion of the city. During the late 1890s, New York became another magnet for scenic artists as theater production increased and Coney Island was developed. A third shift occurred during the post-World War I era as the West Coast underwent a dramatic construction boom and the movie industry expanded throughout the region, offering a variety of artistic opportunities. In each instance, artists were brought together and the traditional aesthetic associated with the performing arts is further developed; scenic illusion adopted new effects. Obviously, I am speaking of general artistic shifts and divisions within the theatre industry, as not all artists would have implemented new styles and techniques. Some would hold onto the popular techniques from a previous era. As new forms of entertainment were developed, such as film, scenic painting adapted to each new aesthetic.
The same thing should be happening now – scenic art adapting to accommodate the increased use of digital media and printed images. Here are my thoughts on the matter of increased digital printing, even though my life is steeped in history and traditional scene painting techniques. Please, take it for what it’s worth. Scenic art has always been so much more than the simple act of painting a picture, or replicating a design; it is the continued development of scenic illusion for a performance-based art form. Applied arts programs are following the standard development of scenic art traditions – some theatre arts programs are not. It is a benefit to the scenic artist to not only master pictorial painting and historical techniques, but also to remain knowledgeable about new paint products and digital possibilities. Just like the scenic artists from the late 19th century, you need to familiarize yourself with all of the possibilities to succeed.
There has not been a single painting project that I have not adapted some form of historical painting technique, as they are often the most efficient way to paint both two-dimensional and three-dimensional objects. A few weeks ago, I painted a zombie grinder for Comic Con 2018 (San Diego). For my part of the project, I used the same approach that I have repeatedly incorporated into historical replicas over the years. Why? It increased productivity. In short, it was the fastest technique that I could pull from my “tool kit.” Understanding and practicing historical techniques is always a great asset when completing any painting project, as it helps with seeing the forest for the trees.
