Photography – 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…

Tales from a Scenic Artist and Scholar. Part 710 – Scenic Art Training

Part 710: Scenic Art Training

Over a year ago, I was contacted by a fellow scenic artist in the UK. She was searching for information about instructional guides that described the painting process in the 19^th century. It is fun to converse with and assist a fellow scenic artist who is also focusing on the history of scenic art. While keeping an eye open over the past year, I stumbled across “The Art and Mystery of Scene Painting” in “Britain at Work. A Pictorial Description of Our National Industries,” published in 1902. One particular sentence that caught my eye as I started to read the article: “In these pages, however, it is with scene- painting as an avocation rather than as an art that we are primarily concerned.” This is a loaded statement that signified a shift in the scenic art profession, and one that should be considered today.

Before I post this article in its entirety (over the course of the next few days due to length) there is something to consider about our theatrical past, our future and the training of scenic artists. I say this from the perspective of one who has been criticized for not sharing enough about my personal scenic art and restoration techniques.

I’ll start with the historical context of sharing scenic art techniques with fellow scenic artists, or the general public. During the 19^th century, the mystery of scenic art was unveiled in multiple publications. This continued into the twentieth century, although the process somewhat shifted to stress a simple avocation. During this time, the roll of the scenic artist as “genius,” “visionary,” and “master artist” starts to disappear. The scenic artist becomes the mere translator of a scenic designer’s vision. For stage scenery, another concept enters the public perception of scenic art, and that is the idea that “anyone can paint.”

All the while, numerous instructional pamphlets and publications began to appear, most accentuating that scene painting is more of an avocation than an art form, and it can easily be studied and mastered. These publications promote that a book can adequately instruct any student, or interested individual, to paint theatre scenery. Even the title of the 1902 article attempts to convey the “mystery” of the scenic art avocation. This was part of a growing trend where 19^th century scenic art techniques and stage effects are shared with the general pubic for enjoyment and reference. Innovative and intriguing mechanical effects even appeared in “Scientific American” as popular topics. In some ways, this was the equivalent of a magician revealing its secret to the crowd, as inquiring minds wanted to know. Another fascinating publication was “Magic Stage Illusions and Scientific Diversions Including Trick Photography,” compiled and edited by Albert A. Hopkins in 1897. This is all part of a growing trend that intensified by the early twentieth century.

Meanwhile, between approximately 1850 and 1950, the perception of the art aspect to scenic art, becomes promoted as a craft. The scenic studios systematically cranking out scenery greatly contributed to this perception. The painting techniques and overall stage aesthetic of painted illusion also began to shift at this time. It is pretty easy to identify when examining backdrops over the course of several decades when they were painted; an artistry began to gradually fade, and is replaced with a more systematic and formulaic approach that has continued to this day. This does not mean that the skill wasn’t present in artists, but the paint application and actual training started to follow a different course. There is also the interesting introduction of the perception that a scenic artist’s job could be successfully completed by any well-intentioned and slightly skilled individual. In other words, with just a little time and some guidance, they could successfully paint stage scenery. In a similar vein, think about the manufacture of cars; a lot of companies make cars, but they are not all equal, ranging from $12,000 to $750,000. The all have four tires and a steering wheel, but there is a difference in quality, even when the basic function is the same.

Then we consider the actual training of scenic artists, as it began to shift from studio to school. I remain on the fence about scenic art being taught at a University versus in a paint studio. I am of a generation who received scenic art instruction at University and benefited from a liberal arts approach. Exploring scenic art techniques was placed within the wonderful context of supplemental knowledge discovered in humanities and art history classes. But I did not learn scenic art in a studio, where I lived and breathed it six days a week for six decades.

The entire American stage aesthetic also shifted during this same period, 1900-1930. This era included an increased appearance of draperies for settings instead of strict painted illusion. The decorative nature of popular art began to permeate the stage and the rise of scenic designer increased, delegating the scenic artist to become a translator for their vision. The dominance of the Düsseldorf and Hudson River Valley schools’ romanticism was somewhat replaced with stencils and paint-by-number on a variety of fabrics, including silks and plush velvet. However, for standard high school, community, ethnic hall or other productions, instructional manuals helped and encouraged amateur artists paint the necessary stage scenes. We can be thrilled that art permeated all aspects of our culture, but it also redefined the field scenic art.

Only so much scenic art instruction can be passed along in a book or online, even with a lovely YouTube video. This is a profession that requires hands-on instruction and mentorship, as well as intensive study and years of practice. In the end, not all scenic artists are equal. Now, this is my belief, and I have certainly been read the riot act about this stance, yet I cannot think of any profession where all individuals are equal, just look at the medical profession. If all scenic artists were the same, we would all charge the same rate and everything would look the same; there would be no need for unions or people receiving any higher rate than another..

While working with Vern Sutton at Opera in the Ozarks one summer, I heard him say something pretty profound to a group of young opera singers; his message could really apply to all artists. He was explaining how very few world class singers were out there. Unless he had specifically told an individual that they were world class, they weren’t; “you will recognize a world class voice instantly.” That same summer, I heard my first world-class voice and it was unmistakable, no question; there was only the one in the dozens of performers that year. The same can be said for scenic art. There are some who rise to top of their profession, whether as a rocket or bubble of air seeking the surface. Many scenic artists spend an increadible amount of money and time perfecting their techniques and knowledge of the industry.

Understandably, these journeymen scenic artists are hesitant to give their “secrets” all away, unless they are in a secure position. This is not a new stance, as I have repeatedly encountered this topic in scenic artists’ memoirs and newspaper articles throughout the nineteenth and twentieth century. Think of the entire point of guilds protecting trade secrets. I think of the newspapers that heralded a handful of scenic artists when there were hundreds painting during the 1890s. These were exceptionally skilled individuals. Only a few rose to the top of their profession, and they did not give free or reduced-rate workshops for aspiring artists. They may have painted alongside apprentices in fine art studios, or at the paint frame, but there was a hierarchy in the industry based on skill and experience.

When you have a formula, or trade secret that works really well for you – one that took years to understand or develop – would you share it with a direct competitor? Would you share a formula, or trade secret, with a fellow scenic artist in another region or country that did not directly compete with you? Would you share your research with the world before publishing? Knowing the time and expense that you invested in training and experience, would you share a recipe or technique with someone who is just starting out? I was once told, if you give something away, it can devalue what you are actually offering. In context, please consider, that I have likely done more pro bono work over the course of my career than actual paid work. I frequently give away much of my research and what I know, but I am not putting a restoration or painting recipe on a card, as it devalues what I have to offer as a professional and what I have worked so hard to accomplish.

Here is another consideration: If you are a teacher with health insurance, benefits and a retirement plan, it is part of your job to share your recipes and train your students. If you are a freelance artist and have struggled to do it all on your own, is it not your job to share and train. If you have a secure and full-time position in a paint studio, this is very different than an itinerant artist who never knows where their next project will take them. Skilled students directly benefit, and reflect positively on a university instructor or full-time charge artist in a shop; they are a direct credit to their mentor’s skill and leadership. This is not the case for the experienced freelance artist or any independent contractor. I can think of no other profession that expects professionals to share all of their knowledge with someone who is just starting out, unless they are grooming them to be a replacement at the end of a career. Enough of the diatribe, I welcome feedback and criticism of my thoughts.

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 694 – The Scottish Rite in McAlester, Oklahoma, 1904

Part 694: The Scottish Rite in McAlester, Oklahoma, 1904

There was something else happening in the world of the Ancient and Accepted Scottish Rite of Freemasonry when the Scottish Rite in Kansas City, Kansas, was dedicated. In 1904 the Scottish Rite in McAlester, Oklahoma, photographically documented a few of their scenes, complete with costumed characters for the corresponding degrees. I first encountered these photographs while restoring the Scottish Rite scenery collection in the 1929 Masonic Temple. In a room with south-facing windows, a glass display case held a handful of photographs. There were several old photographs that depicted a small Scottish Rite stage and costumed degree teams.

One of the photographs in a display case at the Masonic Temple in McAlester, Oklahoma. This image depicts a degree team from 1904.

The typed card that accompanied the photographs stated:

“These are pictures taken of McAlester Scottish Rite degree teams in 1904, taken on stage “The Tabernacle,” McAlester’s first Scottish Rite Temple. It was located on the south side of Washington Avenue between 2nd and 3rd Streets, where the drive in facility of the Bank, NA, is presently situated.”

As with many onsite discoveries, I carefully tucked this little bit of information away and went on with my work for about a decade. I did not think about the photographs again until I was working on “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book (Museum of New Mexico Press, 2018). We were trying to track down some interesting images of Harper S. Cunningham, Sovereign Grand Inspector General of New Mexico, when the Santa Fe Scottish Rite was being planned. Cunningham had also functioned as the S.G.I.G. of Oklahoma Territory before moving to Santa Fe to help with the impending plans for constructing a new home with stage. Cunningham was referred to as the “Temple Builder.” As possible images were passed back and forth, one included Cunningham seated in front of a candidate class. This was taken in front of Santa Fe’s first Scottish Rite stage on Water Street.

Drop curtain created for the first Scottish Rite stage in McAlester, Oklahoma.

Curtain created for the first Scottish Rite stage in McAlester, Oklahoma, used by the Santa Fe Masons at their Masonic Hall on Water Street.

As with many Scottish Rite Valleys, the stage was constructed at the end of a Masonic hall. The intent of this stage was to get the members used to staging degrees, as they were planning a new theater in the proposed Scottish Rite building. Cunningham had directed the Snat Fe Scotish Rite to purchase the used scenery from the McAlester Scottish Rite Masons as they had just built a new stage and ordered new scenery.

Small stage constructed at the end of the Masonic hall on Water Street in Santa Fe, New Mexico.

As I looked at the photograph of Cunningham stoically seated amongst a candidate class of twenty-two men, I noticed the tassels on the drop curtain behind. Many Scottish Rite drop curtains during the first two decades of the twentieth century have a similar feel and composition, but I have yet to find two that are identical. When I compared the drop curtain in the Santa Fe photograph and the McAlester photograph, I realized that they were identical. The used scenery purchased from the McAlester Scottish Rite during the planning and construction of the Santa Fe Scottish Rite Cathedral was sitting in a display case in McAlester, Oklahoma.

At the time I documented the McAlester degree team images, they were deteriorating from direct exposure to sun and heat. I realized that it was unlikely a conservator had swept in after my departure from McAlester and removed the photographs form the cases to care for these significant images. I simply treasured the images that I already had and requested additional photographs depicting the scenery installed for the Santa Fe Scottish Rite Masons on Water street to get an understanding of the collection’s scope.

Jump ahead to the fall of 2018. I am carefully adding the research files of Professor Emeritus Lance Brockman to my own files. Years earlier, I had already added the research of Larry Hill, who thoughtfully sent me boxes of slides and past research about historic scenery, stage machinery, and panoramas upon his retirement. As I tucked Brockman’s “McAlester Scottish Rite file” in with my own, I quickly flipped through the contents. In one manila folder, there was a color copy of a 1995 letter from Rhett Bryson at Furman University (Greenville, South Carolina). It an old newspaper clipping. Bryson also traveled with Brockman and Hill across the country, documenting Scottish Rite scenery during the 18980s and 1990s.

The first 2” x 3” color image pictured in the letter was recognizable as the scenery behind the degree team for the 1904 McAlester Scottish Rite degree team photo. This was huge! Rhyson indicated that there were thirteen drops clearly marked “So. McAlister” on the back. This meant that the original scenery created for the McAlester Scottish Rite was used by the Santa Fe Scottish Rite and then shipped to and used by the Charleston Scottish Rite. The scenery had three lives! I was curious to see what I could find about the Scottish Rite stage in Charleston that used the scenery.

To be continued…

Tales from a Scenic Artist and Scholar. Part 626 – Photographing Scottish Rite Scenery

Part 626: Photographing Scottish Rite Scenery

There was another significant moment that occurred during the 1909 Biennial Session of the Supreme Council of the Sovereign Grand Inspectors General of the Thirty-third Degree of Ancient and Accepted Scottish Rite of Freemasonry, for the Southern Jurisdiction of the United States of America.

It was an attempt to regulate the use of photograph images of Scottish Rite scenery in publications throughout the Northern and Southern Jurisdictions. Both Supreme councils would implement legislation to limit the amount of visual information that was released to the general public. In other words, they were trying to keep certain elements “secret,” noting that too much was being “shared” with the general public. Up to that time, pictures of Scottish Rite scenery were included not only in souvenir programs for Scottish Rite reunions, but also in newspaper articles. For example, there were photographs of two degree settings published in the “Topeka State Journal” depicting the Egyptian and Peristyle settings for the 31^st and 18^th degrees, respectively ( 30 Oct. 1909, page 6). In 1909 Grand Commander James D. Richardson called for a stop to this practice at the Biennial Session, citing legislation that had already been implemented in the Northern Jurisdiction. From this point on, the publishing of photographs depicting Scottish Rite degree productions or scenery was strictly forbidden.

Egyptian setting published in the Topeka State Journal

Peristyle setting published in the Topeka State Journal

This legislation mostly worked until the 1970, and is now impossible in the age of social media where most Scottish Rite Masons have a camera on their phone. Today there are photos of degree work all over social media – scenes from reunions on Facebook posts, tweets and instagrams of Masons in costume. It is just too tempting for members not to post pictures of things they love.

One example of social media depicting a Scottish Rite class in front of the Peristyle scene for the 18th degree

Similar scene form 1909 with Grand Commander James D. Richardson seated in the center – also showing the Peristyle scene for the 18th degree.

Image of a Scottish Rite degree team posed in front of scenery

Scottish Rite Masons posed in front of scenery at the Yankton Scottish Rite

However, 110 years ago, it was an entirely different issue when Grand Commander James D. Richardson realized that they needed to pull on the reigns of something that was becoming a runaway issue. In the section “Programmes of Reunions. Etc.” of the 1909 Transactions of the Supreme Council (page 64) Grand Commander Richardson commented,

“The inspection of the programmes published by some of our subordinate bodies announcing reunions, etc., and which are sent broadcast throughout the country, I think, will show that the form or ceremony conferring Degrees is advertised by illustrations in these programmes to an improper extent. Many of them are works of art and of exquisite taste. I have no desire to stop, or even discourage this attractive style of advertising, but am of the opinion that greater care should be exercised in the matter than is at present observed. When I was at the session of the Northern Supreme Council, September 1908, I heard with interest the discussion on this subject by Bro. Palmer in his Allocution. He had had his attention called to it by a request for permission to publish in a programme the photographs of the casts of some Degrees. I quote a portion of his reply to this request, as follows:

‘I have to say in reply that the rituals of the Scottish Rite Degrees, like those of all other Degrees in Freemasonry, are secret in all respects. The rituals of Freemasonry constitute its methods of teaching great truths to those who apply for and are found worthy to receive them. These rituals and methods of communicating them to those who have been duly chosen to receive them, in my judgment, rank with secrets of Freemasonry and should be most carefully guarded. No part of the forms or ceremonies connected with the conferring of Degrees, or any of them, or any part thereof, should be published or exhibited to those Masons, either by photographs, written or printed circulars, or advertisements in newspapers, either before or after the Degree or Degrees shall be conferred, and being of this opinion, I was obliged to decline to comply with the courteous request.’

This portion of the address was referred to committee. The committee reported the resolution which was adopted, and which declared, “That it is not permissible to print, publish, distribute, or exhibit any illustration of any part of the rituals, form, or ceremonies, connected with the conferring of degrees of the Ancient and Accepted Scottish Rite, or any of them, or any part, or synopsis, in any manner of form, to the public, or to any one entitled thereto.”

I think it would be wise for the Council to adopt this, or a similar resolution. I am of the opinion that it would be well to require that all programmes and announcements of reunions should be submitted to the Inspector General, or Deputy of the Supreme Council in a jurisdiction where there is no Inspector-General for his approval before they are published and distributed.”

Fast forward ahead eight decades. A small troupe of theatre professors cross the country, documenting historic scenery collections in Scottish Rite theaters. This group, partially funded by USITT travel grants, included Lance Brockman, Larry Hill, Rhett Bryson, and Bruce Brockman. Whether together, or separate, each of the men spent hours gaining access to these significant historic scenery collections and documenting the painted scenery and stage effects.

Their visits caused quite a stir and soon a letter was sent out to every Scottish Rite Valley in the Southern Jurisdiction with the following announcement from the Grand Secretary General:

March 6, 1984

“TO ALL ACTIVES, DEPUTIES AND SECRETARIES

Dear Brother:

It has been brought to our attention that requests have been made in several Valleys in the Southern Jurisdiction to take photographs of the backdrops used in our ritualistic work. Further information has indicated that the individuals pursuing this project have no knowledge of Masonic ritual and consequently have engaged in useless and ignorant speculation concerning the uses to which these backdrops might be put. These discussions lead to derogatory criticism of Masonry.

My suggestion would be not ever to let anyone take photographs of any of the backdrops used in ritualistic work for other than Masonic purposes. This policy should eliminate future problems of this type.

With best wishes,

Cordially and fraternally yours,

Fred Kleinknecht

Grand Secretary General”

This action may have been the equivalent to throwing water on a grease fire. It was not out of spite that the men continued their documentation, but out of an understanding that the historic scenery collections were valuable cultural artifact shared by both the Fraternity and American public; each had a place within American history as well as Masonic history. Thankfully, the photographic documentation continued as Brockman trudged along with his research, soon facilitating the acquisition of two primarily Masonic scenery design collections – the Great Western Stage Equipment Company collection and the Holak Collection – for the Performing Arts Archives at the University of Minnesota from 1988-1991. These were the two collections that I processed with two Undergraduate Research Opportunity Grants while working on my undergraduate degree at the University of Minnesota.

In 1992, the symposium “Theatre of the Fraternity: Staging the Sacred Space of the Scottish Rite” was held from September 10 – 12 in Minnesota. This event was supported by the National Endowment for the Humanities and the University of Minnesota. Activities included a presentation at the Minneapolis Scottish Rite and even a trip up north to visit the Duluth Scottish Rite. The support for the “Theatre of the Fraternity” continued and by 1996, the touring museum exhibit “Theatre of the Fraternity: Staging the Ritual Space of Freemasonry, 1896-1929” opened at the Weisman Art Museum at the University of Minnesota before crossing the country. The exhibit was conceived and curated by Prof. C. Lance Brockman. A catalog was published in conjunction with the exhibit, including contributions by Kenneth L. Ames, William D. Moore, Mary Ann Clawson, Mark C. Carnes, C. Lance Brockman and Lawrence J. Hill. A few more years went by and many of these Masonic Designs became available for the general public in an online database (https://umedia.lib.umn.edu/scenicsearch). This was the project that I helped with in both the design, selection and entering of metadata for each item.

In additional to archival work, I entered into the fray thru the back door of the Scottish Rite – the stage door – restoring deteriorating scenery and replicating historic compositions for various Scottish Rite theaters across the country. However, it was never simply about the art, restoration, or historical scene painting techniques. Working as an assistant to Prof. Brockman, provided me with the incentive to use the subject for my doctoral dissertation: “Scenic Shifts Upon the Scottish Rite Stage: Designing for Masonic Theatre, 1859-1929” (UMN 2009). All the while, membership in the Scottish Rite continued to decrease. Scottish Rite Valleys began closing their buildings and moving to alternative locations. If the new space did not permit the use of their old scenery, entire collections were abandoned or disposed of over the years. In some cases, photographs of Scottish Rite scenery taken by a handful of theatre professors and practitioners are the only thing that remain of these glorious collections. More will disappear in the decades to follow and I have to wonder which ones will survive.

My concern for this loss of this history is one of the reasons that I now daily publish digital images of Scottish Rite scenery to my public FB group Dry Pigment. I hope to raise awareness of this valuable resource for not only theatre practitioners, but also historians. It is also why I pushed so hard to include a degree portfolio, featuring the twenty-nine settings of the 1912 Santa Fe Scottish Rite stage in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). Full-page color plates of Scottish Rite degree productions, complete with costumed actors and props, may be all that is left someday. Believe me, convincing a secret society to publically share images of their scenery for all the world to see is no small feat, especially when I was very familiar that this fight had been occurring since 1909.

However, I am not alone, as many Scottish Rite Valleys across the country are attempting other ways to increase membership and sharing their stage. Opening up their doors to the public is one option to increase revenue with rentals. Here is an article in South Dakota magazine that explains why declining membership is prompting some Masons to shed the mystery. This is quite an interesting article that reads a bit like an advertisement:

https://www.southdakotamagazine.com/masons-losing-the-mystery

To be continued…

Tales from a Scenic Artist and Scholar. Part 586 – Women employed at the Olympic Music Hall in 1908

Part 586: Women employed at the Olympic Music Hall in 1908

Thomas G. Moses worked on scenery for the Olympic Music Hall in Chicago during 1908. An interesting article was published that year about the women who managed the venue (Inter Ocean, 15 Nov. 1908, page 32). Considering the continued struggles of women in the United States and recent legislative setbacks nationwide, this article was a breath of fresh air for me. Lottie B. Akass, Nellie Revell, Minnie Sleeper were credited for their knowledge and skill 110 years ago; this still at a time when women could note vote. Here is a little background on the individuals mentioned in the article below.

Article about the women managing the Olympic Music Hall in 1908, from the” Inter Ocean,” 8 Nov 1908, page 30

John J. Murdock, was listed as the general manager of the Olympic Music Hall in 1908. L. B. Akass was listed as the assistant manager. Murdock was previously the theatrical manager of the Masonic Temple Theatre in Chicago, married performer Grace Akass, a singer from Indianapolis. Murdock was head of the Western Vaudeville Manager’s Association, and later a large stockholder in the organization headed by Keith, Fox, Warner, Metro-Goldwyn.

Grace Akass was from Indianapolis and entered into vaudeville with a unique singing act.

By 1903, she was performing the “The Girl With the Auburn Hair” (Indianapolis Journal, 16 March 1903, page 3). Akass began her professional career in approximately 1899. Her sister, Lottie Akass, also toured with the production. Lottie performed as the onstage organist, playing a portable organ that accompanied all of the sacred scenes sung in the production’s church scene. Lottie was also a distinguished singer and performer.

Minnie Akaas (left) and Lottie Akaas (right)

While the two sisters were on tour, they made snapshots of the people and places they visited, creating pictorial travelogues. They had several cameras and a trunk that held all of the necessary supplies to create a dark room for developing the results of their “daily work abroad” (The Indianapolis News, 18 March 1903, page 5). At the time, newspapers noted that the sisters possessed one of the finest collection of Kodak photographs in the country. Grace and Lottie were also known for their extensive study of music and literature. The two also drove automobiles, contributing to their independence.

Another Akaas sister, Minnie Belle, was quite talented and well-known for her artistic skills. Of the three, Minnie Belle was the artist, a member of the Chicago Academy. She also moved from Indianapolis to Chicago were she exhibited her paintings, winning many awards. Her painting of Grace, “Girl in the Red Kimono” took first prize in Indianapolis. The same painting also received second prize at a Chicago Academy exhibit. Minnie married William Bancroft Sleeper in 1904 (Inter Ocean, 3 Jan. 1904, page 44). Sleeper was a Wyoming ranchman and member of the legislature (Indianapolis Journal, 17 July 1903, page 12). He also managed a number of mining and oil enterprises along the way. Among Sleeper’s personal friends were President Roosevelt and William F. Cody. Minnie and William had a daughter who became the film star, Martha Sleeper.

Article about Minnie Akaas and William B. Sleeper, from the Tennessean 23 Aug 1903, page 8

Back to the article about the Olympic Music Hall being managed by three women in 1908. John J. Murdock renovated the Olympic theatre to really showcase the women in his life; Grace was on stage, Lottie managed the venue, and Minnie did much of the painted décor throughout the building.

Here is the article from the “Inter Ocean” that highlighted the women who worked at the Olympic Music Hall (15 Nov. 1908, page 32):

“Here you have the marvel of the place. The new music hall is the only place of the sort in the world managed by women. There is only one place of importance on the staff of employees and managers that is not filled by a woman. He is in the box office. The only reason there is a “he” there instead of a “she” is that Mr. Murdock who financed the scheme, and who is one of the most experienced vaudeville managers, feared that certain people who are as yet unable to realize the full value of women’s actual services, might misconstrue the presence in the box office of a woman and fancy that it was not a nice place to take his wife or his sweetheart or his sister, which, of course, would be exactly contrary to the real purpose. To give the public confidence he put his own name on the program as manager, but just under it in big type is the name of a woman, “Miss Lottie Marie Akass.”

And Miss Akass is the manager. She is his sister-in-law, and he briefly states his reason for building a theatre for her.

“I wanted to give her a chance to attain something,” he said, “She is and ambitious girl, and there is a small outlet for the ambitions of a clever woman. So I fixed this theatre for her.” He looked out over the rows of flowers that were in baskets and vases and wreaths and embankments. “Not to boast,” he said. “Do you know there are almost $3,000 worth of flowers there? [the 2018 equivalent is over $82,000] They came from everywhere in the United States. See that basket of red roses? The Hengler sisters sent it from San Francisco. And that immense bunch of American beauty roses? That is from George Cohan. There is the Heath and McIntrye offering. There are hundreds of them. I tell you they mean a lot to me, for with every one is a card of good wishes. And the telegrams – there were over 1,400.

Then he smiled. Too, with his sweet faced sister-in-law, who stood beside him. He is delicate of frame and fine featured as to face, but worn looking from the tension of preparation.

“For two weeks before the opening I could not sleep,” he said. “You see, I want the girls to succeed. Miss Akass isn’t the only one. There is Miss Nellie Revell [1873-1958], who is the press agent and serves us valiantly.”

Nellie Revell, Press Agent for the Olympic Music Hall in 1908

The music of the orchestra drifted out through the doorways faintly and sweetly. The big divan was very, very comfortable. I wanted to see the next turn on the stage, but I lingered among the flowers and talked with the woman press agent. An oddly straightforward creature she is too, with honest hazel eyes and many direct qualities in her speech.

“Come over to the ladies’ room,” she said. “Let me tell you a secret – you may wash your face here, or your hands. You may powder your nose and polish your nails. If you are ill the matron will take care of you, and you may lie down on this beautiful couch. You wash your hands with a bit of soap that is all your own. You powder your face with a cloth that you throw away.” She held the box of white celluloid with a perforated top toward my nose. “Isn’t is fragrant?” she asked. It was-and woefully expensive, I am sure. We strolled back to the foyer. Another dark-eyed, soft voiced woman stood beside Manager Miss Akass.

“Look” said Press Agent Miss Revell. “Did you ever see so beautiful a rose tint on a wall?” I confessed that I had not.

“Mr. Murdock and Mrs. Sleeper showed the painters how to mix it,” she said. “They were days and days getting the right tint. After it was on, Mrs. Sleeper painted every one of those roses in the decorative design.”

My incredulity must have been plain.

“Ceilings and all?” I asked.

Press agent Miss Revell nodded her head. “Ceilings and all,” she said. “She is sister to Miss Akass and she is an artist. It was hard work, but she could do it better than anybody who was just hired. She loved it, you see.”

Mr. Murdock had the last word. “I believe in women,” he said. “I have a secretary who receives $100 a week [2018 equivalent of approximately $2750.00]. Over in the Majestic theater offices, we have a woman who has eighteen stenographers under her. I pay very little attention to my correspondence because my secretary knows the business details of forty or fifty theaters as well as I do. The moment we feel that it will not be misunderstood by the public, we shall probably have a woman in the box office.

The three women who control the destinies of the rose tinted theater stood there – Manager Miss L. M. Akass, Press Agent Miss Revell, and Decorator Mrs. Minnie Akass Sleeeper…They were three women, and in theirs are the fortunes of the house. Sometimes fortune is a trustworthy lady – most trustworthy.

The orchestra music still drifted through the flowers, as I came away. It was sweet and faint, but the time was a rollicking lilt of promise.”

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…

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…