Photographers – Drypigment.net

Travels of a Scenic Artist and Scholar. Lafayette W. Seavey and Leadville, Colorado, 1881.

Photograph by Alfred Brisbois of Leadville, Colorado, in the 1880s.
Here is the link to the online image:
https://www.theheartofcolorado.com/history/leadville-fame-and-fortunes/article_d4078130-730c-11e7-aa6d-9376972147fa.html

Before I leave the 1879 Tabor Opera House scenery discussion, there are some other factors to consider, providing an additional perspective that help place the original scenery collection in context. Today’s post has to do with a major New York scenic studio delivering photographic backings to Leadville in 1881. That is less than two years after the Tabor Opera House opened its doors to the public.

On Nov. 1, 1881. The “Leadville Daily Herald” included the article, “PHOTOGRAPHY. Some Facts About the Progress of the Art in this City.” The article begins, “There is probably no art that has improved so rapidly in the same space of time as photography, and at the present day has attained a standing in art and business circles second to no similar enterprise in the world. In the place of the daguerreotype, now almost extinct, the photograph is found in every household, and the process for an ordinary first class picture have been so reduced by new modes and improvement that every family van and does have their ‘pictures taken,’ either collectively or individually, for the gratification of themselves and near friends.” The article continues to note two very important aspects suggest the significance of Leadville, as this is no longer a small mountain community. Here is the first: “Among the many photographers is the state, Leadville has probably the very best, in the person of Mr. Brisbois. Having served for years in the business with the finest in the land and having graduated competent to conduct the extensive studio, which now carries his name, on East Fifth Street. Since the retirement of his late partner, Mr. Brisbois has made a number of improvements, which not only facilitate the business of the establishment, but has added considerably to the comfort and entertainment of his patrons.”

Photograph by Alfred Brisbois of Annie Oakley.

“Mr. Brisbois” was actually Alfred Brisbois, founder of Brisbois Photograph Gallery at 501 & 503 Harrison Avenue in Leadville, Colorado. He was listed in the city’s directory from 1886-1890. The Denver Public Library includes a photography collection picturing his staff: “ Miss Rose Northrupp, Reception Room,” “Mr. A. Muhr, Operator Late of New York,” “Mr. W.W. Cecil, 1st Printer,” “Mr. C.C. Turldon, 2nd Printer,” “Mr. Carl Eitner, Retoucher.”Here is the link if you are in the area for a visit: https://researchworks.oclc.org/archivegrid/collection/data/42415291

In 1881 Brisbois has knowledge, experience, and a first-rate establishment in Leadville, perfect for the growing area. The second part of the Leadville article links his photographic backings to one of the top scenic studios in the United States.

The “Leadville Daily Herald” continues, “One of the requirements of an excellent picture is to have backgrounds that will add to the beauty of the work, and as Mr. Brisbois entertains a full appreciation of this fact he has only the work of celebrated New York artist, L. W. Seavey, in his gallery, although they are procured at a price nearly five times as great as some of the less noted painters. With first class operators and workmen it is no wonder that Mr. Brisbois has been so successful in gaining a reputation second to none, and with his exalted views of the necessity of turning out only the best work, together with a gentlemanly deportment to all guests, whether customers or only sight seers, this success is bound to continue.”

*This image was published as part of a L. W. Seavey catalogue, currently for sale by the 19th Century Rare Book Shop and Photograph Shop. Here is the link:* *https://www.19thshop.com/zh/book/rare-album-of-painted-studio-backdrops-furniture-and-props/*

East and west were connected in many ways and people traveled much more than we realize. In 1881, there was a photographer’s convention at the American Institute in New York. An article in the New York Times reported that the largest number of photographic displays with images and photographic apparatus were from the principal western cities” (New York Times, 10 April 1881, page 8). At the conference L. W. Seavey gave an illustrated lecture about dry plates. This was great publicity for his business. I find this absolutely fascinating; especially in light of the Leadville article about the new L. W. Seavey photographic backings.

That same years, L. W. Seavey placed an advertisement in the New York Clipper, “Theatrical scenery, new and second hand, and to order. Home and foreign trade. Send stamp for illustrated circular. Some credit Seavey as establishing the first scenic studio in the United States, with his establishment dates ranging from 1857 to 1865. By the time he shipped painted backings to Brisbois in Leadville, his establishment had been operating at least two decades. L. W. Seavey was a big name, a New York name, and well-known scenic artist.

I bring this up, because if the photographic studio in Leadville is advertising painted scene by Lafayette W. Seavey, a well-respected theatrical manufacturer in 1881, I have a hard time believing that Tabor would hire a regional fresco painter (Lamphere) to paint the drop curtain or scenery for his flagship theater in 1879. When you look at the Tabor Opera House’s painted décor, opera chairs and other elements – all are the best. It would make sense that he would also have purchased the best scenery that money could buy too. After all, scenic illusion, what was happening on stage, often drew people to the theatre. Why would a Leadville photographer hire a better scenic artist than Tabor for the new opera house?

The Tabor Opera House in Leadville, Colorado, 1881.

To be continued…

Tales from a Scenic Artist and Scholar. Part 897 – Christmas 1914

In 1914, Thomas G. Moses wrote, “Rupert was married to Miss Ula McNeill on November 12^th, 1914.” Rupert was the youngest of four children born to Tom and Ella Moses between 1879 and 1889. Their children were Thomas William “Pitt” Moses (b. 1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886) and “Rupert” Moses (1889).

Pitt followed his Uncle Frank Moses and moved to Trenton, New Jersey, to work at a gas plant in 1900. Three years later, he married Stella Martin of Trenton. Moses’ youngest son, Rupert, entered the theatre manufacturing business and remained close to his father. The girls married and became homemakers; Lillian married George Salzman in 1910 and Mamie married William Hanover in 1911. Last, but not least, Rupert married Ula McNeill of Ames, Iowa in 1914.

Because Rupert and his father worked together, the two families would occasionally share the same home, sharing everything from food to scarlet fever over the years. Although his eldest son Pitt lived far away in Trenton, New Jersey, Moses passed along fatherly advice across the miles in the form of letters. Moses’ mourned the great distance he lived from his adult children and their families. In 1914, however, there were no longer little children running up to his attic studio, or young adults to regale with tales of his trips. His homecomings were much quieter. By his fifties, Moses recognized that he had lost many precious moments with his family over the years while he was travelling.

During his extended absences, Moses desperately missed his family, and many times reached out to convey his dislike of these separations. The children’s absences during the holidays accentuated his loneliness. At the close of 1914, Moses wrote, “Another Christmas without Pitt and family or Lillian. Would like to have the children and grandchildren every Christmas. We have a big house to entertain them, and I feel sure they all like to come to the old house, at least once a year.”

His words, “At least once a year,” lingered in my mind. Regret. Success does not matter if you miss so much. I think back to Moses’ many diary entries that placed him far away from the family at holidays. Now he was finally home for one and the children were gone.

By 1917, Moses wrote, “Pitt came out for a short visit and for the first time in twenty years, we had only the four children at home for a dinner. They were not allowed to mention their families. We sat each in their accustomed place. We all enjoyed it immensely. It carried us back many years when we were all much younger. I wish we could do it every year.” That same year, Moses wrote, “Stella and the girls arrived on December 22^nd. Pitt came out on the 24^th. We certainly had some family this Christmas – 17 at the table and two in the kitchen, and we had a fine dinner. I had Eugene Hall come to the house and pose us and he got one good negative. Had to use a flash as the light was very poor. I have wanted this for a good many years, and I am pleased to get it, even if it is not as good as a gallery picture.” In the end, we are often left with pictures and memories, and hopefully enough happiness to make us feel confident in our life choices.

To be continued…

Travels of a Scenic Artists and Scholar: “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” Wins the 2019 Ralph Emerson Twitchell Award

I met Jo Whaley in 2014 when she contacted me about the Scottish Rite scenery collection in Santa Fe; the building was being placed on the market for sale. Jo, who understood the significance of the 1912 building and the historic theatre, had decided to document the space before it passed to another owner. The building was sold, but the Santa Fe Scottish Rite managed to get it back. That is a story in itself.

Our initial encountered and discussions morphed in a book by 2015. From 2015 to 2018 Jo and I spent countless hours on the phone, working on the design, text, images, and basic correspondence. We were fortunate to have two other contributors, State Historian Rick Hendricks and the International Folk Art Museum Director Khristaan Villela. Most importantly the Santa Fe Scottish Rite gave us full control over the books contents. We are very grateful to Wes Thorton, Deputy of the Supreme Council, and Dan Ilrich, President of the Scottish Rite Building Foundation, for trusting us to tell their story.

Wendy Waszut-Barrett and Wes Thorton at the 2019 Awards banquet

Wendy Waszut-Barrett and Dan Ilrich at the 2019 Awards ceremony.

Although it was an incredible amount of work, Jo and I became close friends, as we creatively fueled one another throughout the entire process.

The book, however, is just the beginning. It has led to other opportunities that will allow Jo and I to work together again. I am delighted about this aspect as I look forward. Part of it is that we see and approach things in a similar way. Jo worked as a scenic artist before turning to photography, so we have the same appreciation for historic scenery, as well as picturesque landscapes, and our shared history.

2019 New Mexico History Conference in Albuquerque, New Mexico.

Last night we had the pleasure of accepting the 2109 Ralph Emerson Twitchell Award from the New Mexico Historical Society. This award is given annually by the Historical Society of New Mexico for an outstanding publication or significant contribution to the creative arts, as related to New Mexico history. An email confirming our award described our book as “absolutely amazing,” and explained, “your book does a wonderful job of presenting the accumulated knowledge of New Mexico’s pioneering Masons, as well as the story behind the building’s unique architecture and its rich theatrical legacy.” The award was presented at the Awards Banquet in Albuquerque as part of the 2019 New Mexico History Conference. Jo and I were invited to attend this event that included a book signing.

The 2019 Ralph Emerson Twitchell Award (front)

The 2019 Ralph Emerson Twitchell Award (back)

The entire project has been about the journey. Working with Jo and the other participants has been such a wonderful experience, but it hasn’t end with the publication of the our book. I can’t wait to see where the road leads us now.

To be continued…

Tales from a Scenic Artist and Scholar. Part 583 – Background Painters, Luminous-Lint

Part 583: Background Painters, Luminous-Lint

Here is a little sidestep from the life and times of Thomas G. Moses. Occasionally while looking for information online, I discover a site, that takes me by surprise. Here was one that I uncovered while looking for information about advertising curtains by the Kansas City Scenic Co.

Image from Luminous-lint.http://www.luminous-lint.com/__phv_app.php?/f/_studios_backgrounds_painters_01/

It was an advertisement for the Kansas City Scenic Co. that drew me into a series of photographs depicting scenic artists from the mid-nineteenth to mid-twentieth century. The images were part of an online collection called Luminous-Lint and the artists were categorized as “Painters of backgrounds.”

If you are unfamiliar with the Luminous-Lint, this is one site to bookmark. It contains 85,989 photographs from 3,278 different collections around the world. The creators mission is to create “detailed and well structured histories of photography.” The site includes “1,031 distinct, but interlinked, histories of photography that are evolving on a regular basis.” The creators report that their site is used worldwide by curators, educators, photo historians, collectors and photographers to better understand the many histories of photography.

My interest in the contents has little to do with the photographers or history of photography; I am interested in the subject matter. My interest lies with not only the scenic artists with paint palettes, buckets, and brushes, by also the performers and tradesmen.

David Knights-Whittome on a ladder. Image from Luminous-lint.http://www.luminous-lint.com/__phv_app.php?/f/_studios_backgrounds_painters_01/

One of the collections features David Knights-Whittome. Here is the information about the collection on Luminous-Lint: “About 1978 a collection of around 11,000 glass plate negatives was found in the basement of Linwood Strong’s shop (Optician) on the High Street in Sutton, a town in South London. The plates had been stored there in deteriorating conditions for over 60 years, they were saved and eventually became a part of Sutton Archives, South London, England. They were stored but not made available until 2014 when a preservation and digitization project commenced. The photographer was little-known David Knights-Whittome and the portraits provide a time capsule of Late Victorian and early Edwardian England. The collection included images of studio backgrounds, a photograph of David Knights-Whittome standing on a step ladder and posed as if he was painting a backdrop, and a notebook with a sketch for a background that he had drawn as a teenager in the 1890s.”

Many of the photographers also worked as scenic artists, creating painted backings of various sizes and subjects.

Here is a link to the “background artists” category: http://www.luminous-lint.com/__phv_app.php?/f/_studios_backgrounds_painters_01/ I really recommend taking a peak at this site.

To be continued…

Travels of a Scenic Artist and Scholar: Behind the Scenes

Behind the Scenes

While photographing the Scottish Rite scenery in Deadwood, South Dakota, we discovered a prop attached to the backside of a drop, hanging from the top batten

Photographs of historic scenery are often very static, especially in souvenir programs. Performers are carefully posed in front of scenes compositions. I think of the souvenir program for “Ben Hur” with the various actors in carefully arranged stage pictures. The one thing that Jo Whaley and I tried to convey in the book “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018) was a sense of movement and allowing the reader to enter the scene. Whaley spent hours asking models to slightly move their head, hands, or walk in a certain direction during long exposure shots at the theater. Everything else remained perfectly still, but a slight blur suggesting movement activated the space. The first time she showed me the effect, I was blown away. Models were also positioned to break the picture frame and increase the overall depth with use of silhouettes.

Jo Whaley ad Wendy Waszut-Barrett at the release of “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture, and Theatre” (Museum of New Mexico Press, 2018).

This was a remarkable departure from many other photographs that depicted painted scenes on historic stages around the world. As we selected images for my chapter and the degree portfolio (Chapters 4 and 5 in the book), we decided upon some unnatural compositions too. A backdrop that becomes a blur, accentuating the cut drop details down stage; this was created by slowly pulling out the backdrop. One photo that I specifically requested was taking a picture of the auditorium from behind a cut drop. I have been taking these types of photographs for quite some time, as it helps give definition to netting, bobbinet, and theatrical gauze. My argument to include a composition like this in the book was that it placed the reader in the position of an actor on stage.

Detail of netting and auditorium at the Scottish Rite in Pasadena, California

Backside of a cut drop at the Scottish Rte in Grand Forks, South Dakota.

I enjoy photographing details in a theatre that the average person will never see, not unless you are an actor or stagehand. That is also why I suggested taking an image from the fly rail in Santa Fe, providing a stagehand’s view of the backdrop, cut drop, floor cloth, props and performers for the 4^th degree setting – the Holy of Holies. The collaborative effort was astounding. As Jo had worked for years as a scenic artist in California before focusing on photography in the 1970s, she understood what I was asking, but would still have me take a picture with my phone of EXACTLY what I wanted her to shoot. Then she would take a photograph for the book, adding in her own expertise as a photographer to the composition. We spent hours over the phone “tweaking” each and every photo in the book, even if they were just historical photographs.

Looking through the back of the cut gate for the Holy of Holies at the Scottish Rite in Quincy, Illinois.

There was one type of composition that didn’t make the cut, and I completely understood the decision – the illuminated backside of a backdrop. Many historical drops used very thin layers of paint. I am not talking about glazing, but a thinner coat than many scenic artists used today. Furthermore, the strips of cotton sheeting that were sewn together for backdrops, cut drops and leg drops was MUCH thinner than we use for standard backdrops. The thin fabric, combined with the thin paint, makes a lovely effect when you view the composition from upstage side. The stage lights illuminate the drop and it always reminds me of a negative. The scene looks a bit surreal.

Backside of a translucent section in the Camp Scene at the Scottish Rite in Joplin, Missouri

Backside of a drop at the Scottish Rite in Joplin, Missouri

Today, I am sharing images that I have primarily taken for myself, never intended to share with anyone. Just like a picturesque landscape, or brilliant flower, I see beauty in many of these unusual details and perspectives.

Backside of a drop at the Scottish Rite in Austin, Texas

Backside of a drop at the Scottish Rite in Santa Fe, New Mexico

Backside of a drop at the Scottish Rite in Grand Forks, North Dakota. The red dye lines were the drawing for the original layout during painting.

Looking through a painted gauze made of theatrical scrim at the Scottish Rite in Moline, Illinois

Looking through painted theatrical gauze at the Scottish Rite in Moline, Illinois

To be continued…

Travels of a Scenic Artist and Scholar: The Santa Fe Scottish Rite Book Release, June 24

The Santa Fe Scottish Rite Book Release, June 24

“The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018)

The four contributors to “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). Left to right: Jo Whaley, Wendy Waszut-Barrett, Khristaan Vilella, and Rick Hendricks.

Wendy Waszut-Barrett at “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre”book release event

The entire reason for my journey to Santa Fe, New Mexico, has been to participate in a special event: the book release for “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). We started the day with a technical rehearsal for that afternoon’s program. From the beginning, we wanted much more than four contributors signing books around a table. One of the things that I lobbied for was showing as many theatrical scenes as possible to those attending the event. We finalized the “scenic spectacle” portion of the program on the morning of the event with a series of six scenes that would be presented over the course of ten to fifteen minutes. Each scene included costumed participants, props, and organ music. We wanted to provide a unique experience for local residents who had never entered the Scottish Rite or witnessed the magic of historical scenery. Many of the people who showed up for the event had never been in the building before.

A packed house for both programs at the “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book release party on June 24, 2018.

The event started with bagpipes at 4:00PM, organ music in the theater at 4:15PM, and the hour-long author presentation and scenic spectacle program from 4:30-5:30PM.

From 5:30-6:00PM was the first round of book-signing and hors d’oeuvres. The theater program began with Bert Dalton making a general housekeeping announcement and the Deputy of the Supreme Council for New Mexico, Wes Thorton, welcoming the audience.

Jo Whaley discussed the project and how the book came to be, this wonderful collaborative effort that came to be over the course of four years.

Then all of the contributors spoke about their chapters: Rick Hendricks about the arrival of Freemasonry to New Mexico; Khristaan Vilella about the Moorish-Revival style architecture; and me about the historic theatre, scenery lighting and costumes.

Khristaan Vilella speaking about the Moorish Revival Architecture of the Santa Fe Scottish Rite building

It was a family affair as both my husband and son worked backstage for the event. My husband also donned two costumes for the treasury scene and King Solomon’s apartments.

My husband, Andrew Barrett, and the Personal Representative for the Valley of Santa Fe, John Adams, appearing in the last scene of the book release program.

After the scenic spectacle, the program concluded with a piper emerging from the Solomon’s Temple Ruins scene and leading a procession into the ballroom where the book signing took place. F you didn’t know, bagpipes are a big thing at Masonic events.

My son, Aaron Barrett, waiting to cue the bagpipes backstage

The second program ran from 6:00-7:00PM with a book signing and hors d’oeuvres at 7:30PM. Over two hundred books were sold over the course of four hours. More than 100 had been sold before the actual event. Amazon stopped selling the book as their stock had run out a few days prior to the event. This first print run is only 2000.

The event could not have been more successful from a variety of standpoints. First and foremost, the Santa Fe Scottish Rite is once again very visible within the local community. Hopefully, this will lead to increased rentals and the subsequent income for the necessary maintenance of the building. Secondly, the Fraternity is collaborating with the local community. For any historic venue to survive, it must have the support of a local community; it has to be not only appreciated , but also recognized as a culturally significant landmark. To survive into the future, a Scottish Rite must become recognized as a community treasure, this will help the venue survive membership decline. With the book release, the Valley of Santa Fe may have just secured a safety net for their future. Granted, there is a lot of hard work yet to do, but they now have a book that showcases the internationally significant cultural aspects of their building.

This entire experience has been absolutely wonderful. I was fortunate to be selected as a contributor and as volume editor. Although the book is something that I am extremely proud of, the journey was worth far more than the final product. Working with Rick Hendricks, Khristaan Vilella, Jo Whaley, Dan Irick, George Watson, John Adams, and the rest of the crew will remain a highlight in my career as a scenic artist and scholar.

To be continued…

Tales from a Scenic Artist and Scholar. Part 396 – Francis Bedford, photographer

Part 396: Francis Bedford, photographer

In 1863, William Telbin and his son Henry painted scenes for a panorama about the tour made in the East by the Prince of Wales. At that same time, Francis Bedford (1816-1894) created a photographic exhibition of the same tour. Bedford was a British artist, photographer, lithographer, and publisher.

Bedford was the son of a church architect, Francis Octavius Bedford, following in his father’s footsteps and beginning his career as a draughtsman. He soon became well-known for his ecclesiastical architectural drawings. This skill facilitated additional projects that included “A Chart Illustrating the Architecture of Westminster Abbey (1840) and “A Chart of Anglican Church Architecture Arranged Chronologically with Examples of Different Styles” (1843). Other lithographic commissions included one hundred plates for Owen Jones’ “The Grammar of Ornament” (1856) and “The Treasury of Ornamental Art” (1858).

It was not until the 1850s that Bedford took up photography. He specialized in topographic and architectural views. In 1857 he joined the Photographic Society of London and was elected to the Council of the Photographic Society, later becoming the organization’s president in 1861.

By 1854 Queen Victoria commissioned him to photograph objects in the royal collection at Marlborough House. By the 1861 census, Bedford was listed as an “artist” in Peterborough, later becoming a “photographic artist” in London. He was the first photographer to accompany a royal tour, after successfully completing two royal commissions.

The Prince of Wales and his traveling companions

All parts of the group’s itinerary had already been explored by British travelers, authors, artists and photographers, including Rev. George Wilson Bridges (1846-1852), Maxim du Camp (1849-1851), Francis Frith (1856-1860), as well as the Cramb brothers and James Graham during the 1860s. Many published their photographs by subscription installments. This was similar to what David Roberts had done with his lithographs, resulting in a photographically-illustrated book once the series was complete. Others, such as Frith, issued their photographs as glass-plate stereographs that accompanied descriptive books. Many of Bedford’s photographs became carte-de-visite prints, all bearing the legend “F. Bedford Photographer to H. R. H. The Prince of Wales” over the Prince’s coat of arms. During the 1860s Bedford’s catalogue ran over 9000 images various formats, including multiple view carte-de-visite, copied from montages of large format views.

Francis Bedford, image of Egypt. Southwest view of the Parthenon

Francis Bedford, image of Egypt. The Caryatid Porch of the Erechtheum

Francis Bedford. The Great Propylon of the Temple at Edfou

Francis Bedford. Tombs of the Memlooks at Cairo

Francis Bedford. View through the Great Gateway

Here is an article about Bedford’s project that was published in Illustrated London News (13 Sept 1862, Vol. 41, No. 1164, page 283).

“Echoes of the Week, and the International Exhibition.”

“One of the most admirable and interesting exhibitions now open in London is that of the photographic pictures taken by Mr. Francis Bedford during his tour in the East, on which, by command, he accompanied his Royal Highness the Prince of Wales, and which are now on view at the German Gallery in Old Bond-street. Panoramas, sketches, pictures, and photographs of the Holy Land are no novelties in this country, and are honourably connected with the names of Roberts, Bartlett, Bonomi, and others; but the circumstances under which Mr. Bedford’s tour was undertaken give additional interest to his collection of photographs. We may remark, en passant, that another artist of eminence, although in a widely-different style, is now occupying himself in Oriental fields. Mr. Buckstone, of the Haymarket, has commissioned the famous scene-painter, Mr. William Telbin, to proceed to the East to follow the scarcely-effaced footsteps of the Prince of Wales, for the purpose of making sketches illustrative of his Royal Highness’s tour in Syria and Palestine, which will be reproduced in a panorama for a grand spectacle founded on the Story of “Rasselas, Prince of Abyssinia.” Dr. Johnson will himself officiate as chorus, and, in his immortal snuff-coloured suit and bushy wig, deliver a sonorous commentary on the adventures of Rassolas, who, dramatically speaking, is to be taken in hand by Mr. William Brough.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 110 – Jesse Nusbaum and the Santa Fe Scottish Rite, 1912

Well-known photographers occasionally capture Scottish Rite spaces. In the case of the Santa Fe Scottish Rite Cathedral, Jesse Nusbaum documented both the interior and exterior of this Moorish Revival style complex in 1912. Nusbaum was also an archeologist and three-time superintendent of the Mesa Verde park from 1921-1946. Many of his photographs are now located in the Palace of the Governors Photo Archives in Santa Fe, New Mexico. Their collection includes an estimated 1,000,000 items, such as photo postcards, panoramas, stereographs, photographs, glass plate negatives, film negatives, lantern slides and many other materials. It is a site well worth investigating. Here is the link: http://www.palaceofthegovernors.org/photoarchives.html

Santa Fe Scottish Rite Cathedral, 1912. Photograph Jesse Nusbaum. Original image located at the Palace of the Governors website.

Jesse Nusbaum, self portrait. Original image located at the Palace of the Governors website.

In addition to the images of well-known photographers, Masonic journals and other fraternal publications recorded the extravagant interiors of new Scottish Rite buildings when they were first completed. A 1904 article from “New Age Magazine” details the interior of the new Albert Pike Consistory in Little Rock, Arkansas, including a full-page layout of their new theater with a Sosman & Landis scenery collection.

“New Age Magazine” 1904. Little Rock, Arkansas, Albert Pike Consistory theater. Photograph by Wendy Waszut-Barrett.

Contemporary images of some Masonic theaters are also available online, the bi-product of wedding ceremonies, dance recitals, and other community or rental events. Today’s amateur photographers capture the ornate interiors while visiting Scottish Rite facilities all across the country. Luckily, the internet has preserved many of these details that might otherwise fade from public record. I frequently do image searches just to see if anything new has popped in terms of painted scenery collections in Masonic theaters that I have yet to record. While searching for vintage images of the Fort Scott Scottish Rite auditorium, I recently located a Class picture . This image depicts a contemporary group of candidates seated in front of the stage with the grand drape. This might be one of the last images of this dry rotted curtain with the Scottish Rite eagle.

Fort Scott class in Scottish Rite theater. Photo posted on the Valley website.

What isn’t documented and available online from Fort Scott and most other historical theaters are the off-stage areas and hidden recesses in the building. These images were often never recorded. They are not located in public archives as the result of professional or amateur photographers. However, there are some in private collections. Luckily, theatre historians and practitioners have documented many “Behind the Scenes” photographs. Stagehands and theatre technicians from touring shows take pictures of lighting consoles, rigging systems, and other stage equipment that they have found fascinating while working at a Scottish Rite theater. The Archiving Technical Theatre History Facebook Group is one of many forums where historical images and information are exchanged by theatre professionals and academics. It is an immediate way to share information and preserve moments from the past. Some of us understand that we cannot wait for either funding or grants to disseminate information. Not everyone has the time or ability to share new discoveries. Action needs to be taken now.

I started www.drypigmet.net for just this reason. After years of collecting information and documenting painted details of scenery, I realized that only a few select individuals had seen my work. I wanted to leave a digital trail and share the information that I had gathered over the years to ensure its survival before being donated to a public archive. It also gave me an incentive every day for some much needed “R & R” – my own term for “research and reflection.” I am the perpetual student, always seeking knowledge and trying to learn something that I did not know the day before. I rejoice in sharing my findings as I decode theatrical heritage and scenic art techniques. Posting various images of buildings, catalogues, lights, counterweight systems, painted curtains and costumes, often leads to other discoveries and future finds. When we do not share our knowledge, many discoveries die with us in a state of isolation. I look at John Rothgeb’s paper at the University of Texas and realize that I simply replicated much of the information he had already uncovered when I wrote my dissertation. He just hadn’t shared much of his research.

Had I just spent one month of graduate school at the Harry Ransom Center, my studies might have advanced to a different level. Yes, it is extremely satisfying having my own conclusions verified by another before I even started thinking about them. Ironically, the missing holes in much of Rothgeb’s research were filled by my discoveries and vice versa. Valleys where Rothgeb added question marks were areas that I evaluated and conducted extensive research. It is extremely frustrating to realize that we just missed each other by a few short years. He was passing out of the picture as I was just entering it.

To be continued…

Tales from a Scenic Artist and Scholar: Part 61.

It’s Only a Canvas Sky, Hanging Over a Muslin Tree

At Colorado Springs, we encountered the first real snag in our cross-country journey to Santa Fe –new truck tires. This meant a slight delay and one that I could not afford to take. Without hesitation I continued on to Santa Fe in a rental car, leaving both traveling companions behind. I had an immovable deadline and a difficult task – photographing and processing twenty-nine degree scenes in seven days. There would be no stage crew or wardrobe department during each photo shoot, just Jo and I. We were up against the wall.

Santa Fe, New Mexico. View from Jo’s house.

Fall in Santa Fe with bits of summer dotting the landscape.

The warm lights of fall reflecting through the trees.

Color in the landscape and in the local architecture.

It was during my drive from Colorado to New Mexico that I finally felt able to breathe again. It was the mountains and the fall colors that energized my core. At the first glimpse of the Sangre de Cristo Mountains, I finally felt that my soul was whole again and I was at peace. Every time I visited this area of New Mexico, I pondered how soon we could move here. I really am living in the wrong region, I thought. Picking up a handful of the area’s colorful dirt urges many to contemplate its ancient inhabitants; this is the inspiration that calls to many artists. It pulls at your soul and begs you to stay in the arid desert, capturing the vivid skies and tumultuous rainstorms. It makes me want to hike ancient trails and paint age old scenes.

During my week in Santa Fe, Jo and I worked non-stop, scheduling three photo sessions a day with a new groups of models for every shoot. Luckily, I ended up staying at Jo’s home so that we could “work” before work at the Scottish Rite and “work” after work at the Scottish Rite. We had been unable to secure enough volunteers from the Santa Fe Scottish Rite Reunion, so Masonic men were scarce to act as models. Jo brought in a variety of local residents and friends who added to our workload. This meant new people and meeting a variety of fascinating local artists and photographers- many who were transplants to the region from various areas across the globe. Even my traveling companions came into help for two days and once again, Andrew was handling the lines and Christee dressing people in wardrobe. Thank God for their help as I was starting to burn out.

As wonderful as the landscape and people were, I needed to be in a Scottish Rite theatre again. Every time I step onto a Scottish Rite stage, I experience a moment magic. The stage and painted scenery collections become living entities. It is something that passes on Masonic messages to each new generation and I find tranquility. I used to compare it to “coming home.” I step on a Scottish Rite stage, look up at the wooden battens, and become part of something greater than myself; it gives me purpose. Whatever I may have experienced at the Minnesota Masonic Heritage Center, it had nothing to do with the Fraternity or Masonic principles. It was devoid of this magic. Standing under the stage lights, I realized that I would continue my calling elsewhere; seeking peace on other fraternal stages steeped in history.

View of the photo shoot from the arbor rail.

Throughout the entire shoot, Jo and I recognized that we were involved in something groundbreaking, standing on the edge of a precipice that contained something truly unique. Many historical painted scenes had been photographed throughout the decades, some even with costumed participants in static stage pictures. But we were Photographing 1912 degree productions with a contemporary photographic style where Jo activated various areas of the composition to suggest the life on stage.

To be continued…