Scenic Artists – Page 19

Tales from a Scenic Artist and Scholar. Part 394: William Telbin: Artist in Tempera

In 1889 W. J. Lawrence listed some prominent English scene painting families – the Greenwoods, Grieves, Stanfields, Callcotts, Dansons, Fentons, Gordons, and Telbins. This installment looks at the Telbins (The Theatre Magazine, July 13, 1889). The most famous of the Telbin family was William (1815-1873).

William Telbin was a scene painter at Drury Lane Theatre, Covent Gardens and Lyceum Theatres. His scenic art was greatly influenced by the paintings of J. M. W. Turner. The following article about the artist was published in “The Magazine of Art” (January 1, 1902, page 371-376):

“In the records of scenic art no name is held in higher repute than that of Telbin. Since Clarkston Stanfield abandoned the painting-room of the theatre – nearly sixty years ago [1840s] – and was succeeded at Drury Lane by William Telbin the elder, much of the principal scene work for London, for provincial, and even some of the foreign theatres has been executed by painters of this name, the elder Telbin, the father of the subject of this sketch, was at one time scene painter for the four theatres in London then the most important – Her Majesty’s, the Lyceum, Drury Lane, and the Olympic; and in addition was frequently requisitioned for work at Covent Garden and the Haymarket. His elder son was principal assistant, and the younger one, William, drifted in to the same work. From childhood his mind was centered on artistic matters. Provided with models, and modeling tools as toys, he was encouraged in every possible way to develop his artistic tastes. The profession chosen for him when his school days were ended was that of architect, and with the view of training himself for it, he went through a course of sketching in Westminster Abbey, not wholly as a duty, but from an innate love of architecture. This was in 1862. In the following year he paid a visit of some months’ duration to Bonn, and spent the time sketching on the Rhine between that town and Coblentz. Thence he journeyed to Cologne, and worked for some time in the Cathedral. Upon his return home he entered the painting-room of the theatre as assistant to his father, where his brother was already engaged.

The first scene for which he received public credit was a vision of “Robinson Crusoe on the Raft,” painted for a pantomime produced at Covent Garden Theatre by Sir Augustus Harris’ father. Mr. Telbin confesses that, although he was mentioned on the programme as the author of the work, he “shrewdly suspected” his father of “tampering considerably: with t before it was placed on the stage. He was absent in Ireland for two months before Christmas, and when he saw the scene from the front of the house he recognized his father’s handiwork upon it – the brilliancy of color was mistakenly not his own.

Under the direction of Mr. Telbin the elder, the two younger painters were afforded many valuable opportunities of improving themselves in artistic work, for when sketches from nature were required for the work in hand, they were sent to make them. In the manner Mr. W. Telbin has become acquainted with the greater part of the Continent, his journeyings embracing the distances from Iceland to Tangiers, and Ireland to Vienna. Such experiences are invaluable to a scene-painted of the first rank, as well as to the general landscape painter.

From 1870 to 1873 Mr. Telbin’s work increased to an enormous extent, of, owning to the death of his brother, who fell from a cliff whilst sketching on the shores of Lake Lucerne, his father’s health broke down, and the responsibility of providing the family’s means fell upon Mr. Telbin. The many friends of his father showered do man commissions upon him, that he had a great difficulty in keeping pace with them. One instance alone may be given of his efforts to cope with the work: for when the manager of the Theatre Royal, Manchester, desired him to paint the complete scenery for the production of “Macbeth,” for a whole month Mr. Telbin worked twenty hours a day, reaching the theatre at 6 a.m., and leaving at 2 a.m. the following morning. Since then his work has been seen at all the principal theatres in London, and need not be referred to in detail here. He has latterly been engaged upon the scenery for the revival of “King John,” after having completed that for “Paolo and Francesca” for Mr. George Alexander. His scenes for “Faust,” executed for Sir Henry Irving some years ago, are seeing the light again in the revival of the piece at the Lyceum Theatre.

We desire now to call to attention to a branch of Mr. Telbin’s work which is not generally known to the public, but which, to our mind, is in its way as important and as beautiful as any of his stage productions. With tempera as his medium he has produced a series of black and white drawings which proclaim him a master in black and white art. For brilliancy of execution, for certainty of effect, sparkle of the touch, and beauty of presentation, these drawings are not easily surpassed. Some of them were reproduced in this magazine in two articles on “Scene Painters and their Work,” published in 1889, and others in a paper on “Iceland,” in 1893. Another series of views in the Mediterranean, more of which are to be published later, are admirable representations of the scenes to be witnessed during the season of the “bora” on the Mediterranean shores. They show Mr. Telbin was a careful and accurate student of nature, with an instinctive feeling for the picturesque allied to an inimitable power and facility of presentation and suggestion.”

The younger William Telbin, the principal scenic artist for Irving, believed that it was better “to work from the back of the stage to the front, since presumably the nearer the scene to the audience the more subtle and detailed its finishing”

To be continued…

Tales from a Scenic Artist and Scholar. Part 393 – The Fenton Families

Part 393: The Fenton Families

There were two sets of theatrical families with the last name of Fenton during the 19^th century; both families included performers, but one was distinguished for their scenic art contributions. It is the descendants of James Gill Fenton that W. J. Lawrence was referring to when discussing English scene painting family. James Gill Fenton was listed as a prompter and stage manager. He had four children Caroline (b. 1819), Frederick (b. 1820), Charles (b. 1822), and Charlotte (b. 1825). It would be the two boys who would continue as scenic artists and later be listed as well-known scene painters.

James Gill Fenton (1794-1877) was a scenic artist and stage director to Edmund Kean. He was also noted as prompter and stage manager. He passed away in 1877 at the age of 83.

Charles Gill Fenton (1822-1877) began his acting career during the 1830s playing small parts in pantomimes. From 1844-1859 he played principal roles and began performing in Shakespearean productions at Sadler’s Wells Theatre. Between 1863 and 1873, Charles was listed as an actor and scenic artist at the Strand Theatre. In 1866, Frederick Gill Fenton(1820-1898) was an actor and a scene painter. Frederick was working at the Victoria Theatre while his brother Charles Fenton was working at the Strand.

Charles then transitioned to working in Vaudeville from 1873 to 1874. Charles married Carloline Parkes (b. 1838), a dancer and an actress at Her Majesty’s, Sadler’s Wells, Marlebone, Surrey, and many other theatres, as well as, music halls for almost thirty years. She worked in the theatre from 1849-1973. Charles died the same year as his father, 1877, at the age of 56.

A few years later, an article titled “Art On The Stage” was published from the Building News and Engineering Journal, July 29th, 1881

“Scene Painting is an art by itself. There is no other branch of painting just like it, either in the variety of subjects embraced or in the methods employed. The thorough scenic artist must be equally at home in landscape or marine work, architectural or fresco. He is not permitted to cultivate any particular branch of his art, nor any favourite style. He must be able to produce, at any time, the wild mountainous passes of Switzerland or the flat meadows of Holland; the green lanes of homelike England, or the winding valleys of romantic Spain. In his architectural work he cannot devote himself to the Gothic or the Romanesque, but must be equally master of the Moorish, the Greek, and the Oriental. He may to-day be called upon to paint the Temple of Minerva, and to-morrow the Mosque of Omar; this week the Windsor Hotel, and next week the Palace of Versailles. His art knows no boundaries, and his scope is confined by no limits. The universe must be at his command, and things unseen must live in his imagination. The methods by which he works and many of the materials he employs are altogether different from those employed by the ordinary oil or water-colour painter. They approach more nearly to those of the latter, yet even here certain qualities of the colours used by the scene-painter constitute a sharp dividing line.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 392 – The Greenwood Family of Scenic Artists

Part 392: The Greenwood Family of Scenic Artists

In 1796, the scene painter “Tom Greenwood” was the painter at the Drury Lane Theatre. He who worked with Thomas Bank, and both painted for a “Harlequin” production (“Life of an Actor” by Pierce Egan and T. Greenwood, 1825, page 207). This was T. L. Greenwood’s father.

“The Life of an Actor” with contributions by T. L. Greenwood.

The obituary of Thomas Longdon Greenwood (1806-1879) reported that he was “a clever scene painter.” T. L. Greenwood came from a scene painting family. His father was the son of the scenic artist for Sadler’s Wells Theatre and Surrey Theatre (originally the Royal Circus), also painting settings for the ballet and other scenic attractions by J. C. Cross.

Illustration of Sadler Wells Theatre interior, 1807, with water scene from the Ocean’s Peril

He later transferred to the Drury Lane Theatre and became an even more prominent artist there. T. L. Greenwood’s grandfather was the eminent scenic artist for the Drury-lane Theatre, working for David Garrick until the beginning of the nineteenth century. He was honorably commemorated by Lord Byron in his “English Bards and Scottish Reviewers.” Byron remarked about “Greenwood’s gay designs.”

T. L. Greenwoods obituary reported that he was “initiated behind the scenes of a Theatre at a very early period of his life.” Even though he was brought up to the study of medicine, which he followed so far as to open on his own account a druggist’s establishment in Clerkenwell, his inclinations were always toward a theatrical career. He was remembered for his “intimate knowledge of the Drama in all its varied forms, a practical acquaintance with every department of the Theatre and an administrative ability which was throughout his life associated with the most conscientious integrity, were rare acquirements, that he used to the advantage of others rather than himself.

When he was attached to the Olympic, Greenwood painted the original scenery for “Tom and Jerry” and Moncrieff’s extravaganza of “Giovanni in London.” He also wrote a series of pantomimes for the Surrey, Adelphi, and other theatres, “showing much originality of style and fanciful humour in treatment, and a number of melodramas and spectacles, popular at the time, proceeded from his always ready pen.”

In 1839, Greenwood joined Robert Honner in the management of Sadler Wells, when his adaptiation of “Jack Sheppard” and his melodramatic romance of “Paul, the Pilot; or, the Wreck of the Rover” obtained considerable popularity. In 1844, he was associated with Samuel Phelps in the lesseeship of the same theatre, and it took an active part in the direction of the legitimate campaign that did not end until 1860. Some years later, he accepted the direction of Astley’s for the Christmas period, and also accepted the position of Acting-Manager at the Princess’s during the early part of George Vining’s tenure. His obituary concluded with “Ever seeking out the means of rendering a kindly service to the deserving, and always prompt to assist those who could establish a fair claim to his generous remembrance, the announcement of the death of T. L. Greenwood will fall upon a large circle of the Profession like the tidings of the loss of a dear friend to whom they unfailingly turned for aid and advice in the hour of need. Those who knew him best will feel the deepest sorrow – for the loss of companionship, and hold his memory in highest esteem.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 391 – The Danson Family of Scenic Artists

Part 391: The Danson Family of Scenic Artists

George Danson Jr. (1799-1881) was the son of George Danson Sr., and Mary Ianson. His father was a prominent Liverpool maritime merchant and ship owner who died bankrupt. One of five children, George Jr. became apprenticed to T. & J. Shrigley, after his father’s death. The Shrigleys worked as decorative painters, wood grainers, and japanners. On the completion of his apprenticeship, he went to London. By the age of 24, the Royal Academy exhibited two of his paintings. Danson also exhibited occasionally for the British Institution and the Society for British Artists. In 1824, he married Ann Ireland and the couple had seven children. The two sons that survived to adulthood followed their father’s profession and also became scenic artists. By the late 1840s, the scenic art firm of Danson & Sons. Messrs appears in playbills and directories.

Danson created the Cyclorama of Lisbon with designs from Bradwell (Builder, v. 6, Dec. 30, 1848, pg. 627). He was also a popular scenic artist for Astley’s, where he worked with the famous showman, Andrew Ducrow. He was employed to paint for a variety of venues, including Covent Garden, Coburg Theater, Vauxhall Gardens, the Belle Vue Zoological Gardens, the Surrey Gardens, the Coliseum at Regent’s Park and Drury Lane.

His obituary reported, “Early in his career, Mr. Danson was engaged with David Roberts. R.A., as a scene painter at the Theatre Royal, Edinburgh. Subsequently he assisted in carrying out the constructive decoration of Vauxhall Gardens, and was employed under Macready, and with Clarkston Stanfield in the production of the scenery of the great master’s Shakespearean revivals. At the request of Mr. Braham he produced at the Coliseum in Regents’s Park the dioramas of “London” and “Paris by Moonlight,” and designed and erected various grottoes, Swiss chalets, and other scenic illusions which delighted a former generation. At the Surrey, the Adelphi, and other metropolitan theatres, he devised and produced the scenery of the Christmas pantomimes for m any years. All this long and varied experience Mr. Danson brought to bear in his vast outdoor pictures at Belle Vue, Manchester. But beyond his recognized power as a scenic artist, Mr. Danson possessed a singularly inventive capability for adapting all kinds of materials to his necessities. He was an admirable carpenter and joiner” (The Furniture Gazette, 5 February 1881, page 97).

Vauxhall was frequented by all classes and had remained one of London’s favorite pleasure gardens since the late seventeenth century. The 1823 Vauxhall Gardens in London incorporated an eighty-foot high picture of Vesuvius and the Bay of Naples used as the background to a nightly outdoor fireworks show. However, by the 1820s, Vauxhall had become somewhat rundown and other pleasure gardens began to compete with it. , such as the Belle Vue Zoological Gardens that opened in 1831. This amusement center was the idea of John Jefferson (1793-1869). The main attractions at the zoo, botanical gardens and the amusements included mazes, grottoes, an Italian garden and exotic plant house. Danson was employed to paint 30,000 square feet of canvas to create the background where performers were employed to act out a scenario of a major historic event, usually incorporating a battle. Fireworks were incorporated into this spectacle that catered to the public on an industrial scale.

In 1851, he was asked by John Jennison to be the scenic artist at Belle Vue Gardens in Manchester, a position he held until his death in 1881. Charles Dickens was among Danson’s many friends. Danson’s sons, Thomas (1829-1917) and Robert (1836-1917), each continued careers I scenic art. Thomas Danson later held an art appointment at Belle Vue Gardens. Thomas passed away in 1893. His obituary reported, “The death has occurred in London, in his sixty-fourth year, of Thomas Danson, one of the best known of contemporary scene-painters. He and his brother were well known in the North for the huge scenic “effects” produced by them at the Belle Vue Gardens, Manchester” (Birmingham Daily Post 22 December 1893).

Aerial view of Belle Vue during the 1930s

The Belle Vue zoo closed September 11, 1977; the Belle Vue amusement park closed October 26, 1980; and the Belle Vue gardens closed during February 1982.

To be continued…

Tales from a Scenic Artist and Scholar. Part 390 – Clarkston Frederick Stanfield and his Moving Dioramas

Part 390: Clarkston Frederick Stanfield and his Moving Dioramas

The Grieve family’s scenic work for Covent Garden was considered to be exceptional due to their use of transparent glazes, a technique first developed by John Henderson Greive. The Grieve family of scenic artists remained at the top of their profession utilizing this technique until others were able to emulate it, and improve upon it; Clarkston Frederick Stanfield (1793-1878) and David Roberts, R. A. (1796-1864) were two such scenic artsts. Stanfield and Roberts entered the scenic art picture in 1822 when they first started working at the Drury Lane Theatre. It was Stanfield, however, who would introduce movement to the wonderful scenic illusions at the Drury Lane. Roberts was a fine architectural draftsman and scenic artist draughtsman, by the spectacles produced by Stanfield surpassed both Roberts and the Grieves family triumvirate.

By 1823, Stanfield was in the lead at the Drury Lane, creating a succession of ‘moving dioramas.’ In this context, diorama does not refer to the current understanding of a partially three-dimensional painted scene, but a theatre device. Moving dioramas became features of Stanfield’s English Christmas pantomimes during the 1820s. Stanfield’s moving dioramas (what we now may term moving panoramas) were introduced into each of his successive pantomimes; they were considered artistic triumphs and fueled the competition with other scenic artists such as Roberts.

In 1871, E. L. Blanchard wrote that Stanfield “first distinguished himself at Drury Lane by the scenic effects with which he illustrated the opera Der Freyschutz, produced on that stage in 1824.” From that time he remained the chief of the Drury Lane painting-room while Roberts joined the Covent Garden team. Some of Stanfield’s earliest scenes of this kind were in “Harlequin and the Flying Chest,” and his Crystal Grotto in” Harlequin and the Talking Bird” Blanchard reported that they “created a marked sensation” (“Scenery and Scene-Painters” by The Era Almanack, 1871). Pantomimes, or Pantos, appealed to audiences not only for their favorite actors, but also for the processions, tableaux, staged spectacles, and transformation scenes. Stanfield’s moving panorama were enhanced by the use of two moving panoramas that moved simultaneously.

One moving diorama was rolled between two cylinders on the stage. Certain sections were transparent and backlit to suggest the effect of sunrise, sunset, illuminated windows, fire, or other effects. Stanfield’s use of two canvases, one placed in front of the other allowed additional elements to enhance the three-dimensional effect and potential for visual spectacle. The downstage canvas had cut out sections revealing the upstage composition and placing additional elements in the scene. Between the two canvases, profile pieces moved; one example is a sea ship. Stage machinery and the new medium of gas lighting greatly enhanced the painted illusion. Stanfield’s design for “Zoraster” at Drury Lane incorporated a moving diorama that measured 482 feet long.

By 1825, Stanfield produced the great panoramic display titled “Naumetaboia” for a Jack of all Trades (Christmas, 1825), showing the adventures of a man-of-war, from the launch at Dover, its encounter with a gale, the wreck, and the towing into a foreign port. That December, “The Times” theatre review predicted that both Stanfield and Roberts would ‘become highly eminent as contributors to those institutions which have been established for the encouragement of painting in this country’.

Other notable productions mentioned by Blanchard included the 1826 Man in the Moon, that further supported his excellence as a marine painter, with two remarkable scenes called “England’s Pride” and “England’s Glory.” In 1827, Stanfield painted a “fine reputation of Portsmouth in a Gale of Wind for Harlequin and Cock Robin. In 1828, Stanfield painted a moving diorama for Harlequin and the Queen Bee.

Playbill for “The Queen Bee,” listing the scenic effects painted by Clarkston Frederick Stanfield

Playbill for “The Queen Bee,” listing the new moving diorama painted by Clarkston Frederick Stanfield

The audience was taken on a sea voyage from “Spithead at Sunrise,” past the entrance to Portsmouth Harbour, the Dockyard, Gosport, Mother Bank, Isle of Wight with the Royal Yacht Club, Cowes Regatta, the Needles by Moonlight, the Ocean, the Rock of Gibraltar and ending with a “Grand View of Constantinople.”

Roberts was famous for his dioramas, but never produced works which equaled Stanfield’s, such as “the moving diorama of Alpine scenery, or the memorable views of Windsor and the neighbourhood, which included the sparkling tableau of Virginia water, wherein the real element was so effectively introduced” (The Era Almanack, 1871, page 37). Stanfield introduced unbelievably realistic elements on the stage that were supported by the new gaslight. Roberts left the Drury Lane to join the Grieve family triumvirate of John, Thomas and William Grieve at the Covent Garden Theatre by 1828.

Stanfield’s 1829 pantomime Jack in the Box was distinguished by his diorama depicting the pass of the Simplon, the Valley of the Rhone, Domo D’Ossola, and Lago Maggiore, with the Boromean Islands. An exceptional scene in 1831 was reported to be his diorama of Venice for Harlequin and Little Thumb. The following year he created a magnificent painting of the Falls of Niagara, as seen from the approach to Buffalo on Lake Erie, and the Horse Shoe and Great American fall from Goat Island for Harlequin Traveller.

Stanfield’s painting for the 1833 Christmas equestrian spectacle, St. George and the Dragon was “rendered remarkable by his Egyptian diorama, commencing with the great cataracts and showing the ascent of a pyramid.” The next year he depicted Penrith and Carlisle “in the days of yore” for King Arthur; reviews reported on his “admirable scenery.”

In 1837, Macready became lessee of Covent Garden, and produced the pantomime of Peeping Tom of Coventry, for which Stanfield painted a diorama comprising a series of views in the north of Italy, Savoy, the Alps, and through “French Flanders” to the sea. A special paragraph in the play-bill recorded how the distinguished artist had, “as a sacrifice and in the kindest and most liberal manner, quitted for a short time his easel in order to present the Manager with his last work in that department of the art he has so conspicuously advanced to mark his interest in the success of the cause this Theatre labours to support.”

Two years later, Stanfield created the scenery for the revival of Henry the Fifth, including panoramic illustrations of the Storming of Harfleur, the Battle of Aginciurt, and a view of Southhampton with the departure of the Fleet. Stanfield also furnished the exquisite Sicilian views, illustrative of Acis and galatea, that would become the artist’s last “labours for the stage.”

The Grieve family’s contribution to scenic art in England was the pictorial landscapes gracefully worked up with a series of glazes. Stanfield brought the movement and excitement when he set these beautiful painted settings in motion.

To be continued…

Tales from a Scenic Artist and Scholar. Part 389 – Clarkston Frederick Stanfield

Part 389: Clarkston Frederick Stanfield

Clarkston Frederick Stanfield was the youngest of five children born to James Stanfield and Mary Hoad. He is sometimes erroneously referred to as William Clarkston Stanfield. Like other scenic artists, he came from a theatrical family. Stanfield was born in Sunderland, County Durham, above a shop that was located at the intersection of Playhouse Lane (later known as Drury Lane) and Sunderland High Street. Behind their building was the local theatre.

His father was a merchant seaman who later became a provincial actor, traveling and playing in a variety of performance venues that included theatres, barns, and at race meetings. His appeared on stages from Edinburgh to Scarborough. Some suggest that that Clarkston was encouraged to try his hand at scene painting for his father’s shows, others suggested that it was his mother who encouraged his earliest artworks for the stage. While on the road with his father, he also performed in minor children’s roles. W. J Lawrence included an interesting tidbit in his 1889 article: “Very few people nowadays seem to have any knowledge of the fact that Clarkston Stanfield’s father was not only a capital scenic artist, but a man with some pretensions to literary fame. From his fluent pen came the popular Freemason’s song, “Friendship and Love.” That will be a tidbit tucked away for a future post!

Stanfield’s mother was both an actress and artist. She not only taught painting, but also published a children’s book. She passed away in 1801, when Clarkston was only eight years old. Soon after her death, his father remarried a much younger woman – one who had been his ward. The subsequent arrival of several additional children from the union are often attributed to the “farming out” of the older children for various trade apprenticeships. In 1806, Clarkston became apprenticed to a heraldic painter in Edinburgh. His mentor specialized in the decorative painting of coaches. This apprenticeship lasted approximately two years, until the living and working situation became unbearable for Clarkston. He ran away at the age of fifteen and left for sea on a merchant ship, later becoming pressed into service for the navy by the age of 19. Even on the seas, Stanfield continued to paint. Whether he worked on a small projects assigned by his captain or backings for amateur theatrics on board ship, he continued to hone his artistic skills while at sea. At one point he was even sent ashore to do some painting for an admiral’s ballroom.

Stanfield was discharged from the navy after an accident left him unfit to remain in service; this provided him with the opportunity to re-enter the theatre profession. From his father, he possessed many of the necessary contacts to obtain his first work at the East London Theatre (formerly the Royalty Theatre) in Wellclose Square. Although he did not have the benefit of a scenic art apprenticeship, his career soon flourished in both London and Edinburgh after he proved his worth.

It was rough in the beginning, as his colleagues often forced him to work apart – even banning access to the Scene Painting room where he could warm his size-kettle. However, Stanfield’s talent was recognized and he gradually earned the acceptance of his fellow artists. By 1817 he was earning a salary of £3 a week as a principal artist and had acquired an apprentice of his own – Robert Jones. Stanfield was well respected for the speed at which he painted, his endurance, and the quality of his work. To gain additional funds during this time, he continued to work as a decorative painter in the area.

His specialty was maritime scenes and soon met who would become his lifelong friend and fellow artist, David Roberts, R. A. (1796-1864). By 1822, both were both working as scenic artists for the Drury Lane theatre, a venue lit with the new medium of gas lighting.

An article in “The Times” (Dec. 28, 1828) commented on the stunning transformation of the painted settings and Stanfield’s contribution to Drury Lane. The article also mentioned that the prior to Stanfield’s arrival depicted “water as opaque as the surrounding rocks, and clouds;” it was “not a bit transparent.” Stanfield was credited with bringing “a knowledge of light and shade which enabled him to give his scenes great transparency.” In other words, Stanfield was employing the glazing technique as introduced by John Henderson Grieve during the first decade of the eighteenth century. Stanfield had figured out how to replicate the Grieve technique.

Stanfield married twice. His first marriage was to Mary Hutchinson in 1818, producing two children. Sadly, the marriage only lasted until 1821, when Mary died only a month after the birth of their second child. He remarried three years later, taking Rebecca Adcock as his second wife in 1824 and the couple had ten children; his second son, George Stanfield, followed in his father’s footsteps as an artist.

It was reported that the loss of his good friend Roberts in 1864 greatly affected the remainder of Stanfield’s life and his ten years were spent in poor health with rheumatism and a bad leg. He was housebound for long periods of time and unable to work. Stanfield passed away on May 18, 1867, at the age of 73.

To be continued…

There is an extremely well-written article on Stanfield by Dr. Peter van der Merwe, MBE, DL, General Editor and Greenwich Curator, Royal Museums Greenwich. Here is the link to his article: http://www.victorianweb.org/painting/stanfield/biography.html#5

Tales from a Scenic Artist and Scholar. Part 388 – The Grieve Family

Part 388: The Grieve Family

The Grieves were a family of scene painters who worked at various London theatres during the late-eighteenth through nineteenth century, producing theatre scenery, spectacles and pantomimes. The Grieves had long been famous for the “brilliancy of their style” and the “strong feeling of reality that they communicated to the spectator.” In 1866, the Era reported, “in the taste and artistic beauty of their landscape compositions, they have since had few rivals, and have never been excelled. The Covent Garden Pantomime of ‘Aladdin’ honored Thomas Grieve. The last scene of The ‘Master of Ravenswood,’ at the Lyceum, with the storm effects introduced, was cited as a credit to Grieve’s powers (Gossip About Scenery and Scene Painters from “The Era” 4 February 1866).

The Era Almanack, 1871, reported, “The Grieves had long been famous for their Pantomime scenery, and in the brilliancy of their style, the strong feeling of reality which they communicated to the spectator, and in the taste and artistic beauty of their landscape compositions, they have since had few rivals and never been excelled” (“Scenery and Scene-Painters” by E. L. Blanchard, page 37).

John Henderson Grieve (1770-1845) was the patriarch of the family whose scenic art was primarily associated with Covent Garden. Of Scottish origin, J. H. Grieve was both a painter and draughtsman, born in 1770. Early on in his career, he moved from Perth to work as a scene-painter in the smaller London theatres. By 1794, he was employed by Richard Brinsley Sheridan at Drury Lane. By 1817 he was the lead scenic artist working for the Covent Garden. He remained there throughout the duration of his career, with the exception of extended two absences from 1835-1839 and 1843-1845.

John Henderson Grieve from “Grieve Family Collection of Theatre Designs” at the Senate House Library Archives, University of London. https://archiveshub.jisc.ac.uk/search/archives/3b0cd6e4-22b9-3af4-aa6c-18adba974cc5

John’s two sons were Thomas (1799-1882) and William (1800-1844), each began their scenic art careers at the Covent Garden Theatre, both training and working for their father. The three remained painting together anformed the famous scenic triumvirate at Covent Garden. Thomas was later assisted by his own son, Thomas Walford Grieve (1841-1882), and together they were credited with contributing to the development of scenic art from romanticism to realism. In 1871, the Era Almanack reported, “To Mr. T. Grieve, and his son Mr. Walford Grieve, the modern stage has been largely indebted. Several drop scenes for the late Theatre known as Her Majesty’s, though coloured by the later William Grieve, were drawn by Pugin, the great restorer of ecclesiastical Gothic

Thomas Grieve from “Grieve Family Collection of Theatre Designs” at the Senate House Library Archives, University of London. https://archiveshub.jisc.ac.uk/search/archives/3b0cd6e4-22b9-3af4-aa6c-18adba974cc5

Thomas was particularly known for his work on Shakespearean revivals. Born in 1799, he began working with his father at Covent Garden by the age of 18. When Mr. and Mrs. Charles Mathews became the lessees in 1839, Thomas Grieve was chosen as the principal scenic artist, painting the scenery that accompanied their Christmas pantomimes. After his father’s death, he continued working at Covent Garden, but also painted for the Drury Lane, and at Her Majesty’s Theatre. He was one of the leading artists who supplied Charles Keen with scenery during his time at the Princess’ Theatre, Oxford Street, from 1850 to 1859.

In addition to working for his father, Thomas Grieve worked with the artists who created exhibits for panorama halls. He worked in conjunction with William Telbin and John Absolon to create a panorama depicting the campaigns of Wellington, the Crimean War, Ocean Mail, and Arctic Regions. Like his father, Thomas’ style was known for its brilliancy and realism. His landscape compositions were considered to reign at the top of his profession, and he worked until his passing in 1862. He married Elizabeth, daughter of Robert Goatley of Newbury, by whom he had two children, Thomas Walford Grieve and Fanny Elizabeth “Bessie” Grieve. Thomas Walford, began working with his father in 1862. He also painted for the Covent Garden and the Lyceum, working, for many years under the title “Grieve and Son.”

Thomas Walford Grieve from “Grieve Family Collection of Theatre Designs” at the Senate House Library Archives, University of London. https://archiveshub.jisc.ac.uk/search/archives/3b0cd6e4-22b9-3af4-aa6c-18adba974cc5

Thomas Walford Grieve, Aged 11 by Alfred Corbould, from the Paintings Collection; http://www.artuk.org/artworks/thomas-walford-grieve-aged-11-31333

John H. Grieve’s younger son, William, was born followed the same career course as brother, and made his debut as a scenic artist at the King’s Theatre (later known as Her Majesty’s Theatre). He remained in the venue as a scenic artist stayed until his early passing in 1844, leaving a large family. William was well respected and primarily known for his transformation scenes, especially his moonlight effects. He was reputed to be the first scenic artist called before the curtain to receive the applause of the audience for his contribution to Robert le Diable at the King’s Theatre in 1832.

The three generations of Grieves were credited with not only the introduction of the glazing technique, but also as leading the transition from romanticism to realism in painting for the stage.

To be continued…

There is the “Grieve Family Collection of Theatre Designs” at the Senate House Library Archives, University of London. It is comprised of 655 original scene designs and three folders of slides that include panoramas and watercolor ‘cut-outs’ (profile pieces) by members of the Grieve family. The compositions depict various revival productions of Shakespeare plays, along with works by Isaac Pocock, M.R.Lacy, Thomas Otway, Michael Costa, Samuel Beazley, Douglas Jerrold, G.Meyerbeer, Charles A.Somerset, Edward Fitzball, Rossini and others that were staged at the Theatre Royal (Drury Lane), the Theatre Royal (Covent Garden) and Her Majesty’s Theatre, 1813-1857). Here is the ink: https://archiveshub.jisc.ac.uk/search/archives/3b0cd6e4-22b9-3af4-aa6c-18adba974cc5

Tales from a Scenic Artist and Scholar. Part 381 – The Artistic Legacy of Phil W. Goatcher

Part 381: The Artistic Legacy of Phil W. Goatcher

Phillip W. Goatcher has repeatedly appeared in my searches over the past few years, often as the mentor to various artists that I was tracking down. In 1892, the Chicago Sunday Tribune reported Phillip Goatcher as “a well-known artist of the old school, famous for his oriental color and tropical foliage” (Dec, 18, 1892, page 41). Goatcher instructed numerous scenic artists who gained national reputations during the late-nineteenth century, including Homer Emens and Walter Burridge. Burridge trained with Goatcher at the Chestnut Theatre during the mid-1870s and by 1876, Burridge and Goatcher worked on the “Siege of Paris” for the Philadelphia Centennial World Fair.

Goatcher was unique, working all over the world from New York to Melbourne. His 1931 obituary in the West Australian reports that he, “followed the calling of scene painter for nearly 60 years in America, England and Australia…He had resided in Western Australia for 30 years and was known as perhaps the finest scene painter whoever worked in this State. Going from America to England early in 1873, he painted the scenes for several of the leading theatrical productions in Manchester, Birmingham and London in the next few years, including scenes for the operas of Mr. Rupert D’Oyley Carte’s companies. He also worked in Paris, and for some time was engaged in decorating the London house of Lord Londonderry. He leaves three sons and a daughter, one son, Mr. James Goatcher, being at present in Perth. Another son is in New South Wales, and his daughter and third son are in America” (Perth, WA, 9 October 1931, page 18)

I first discovered this interesting scenic artist when I was researching drop curtains and came across the Goatcher Curtain in the Boulder Town Hall. At the time, I was looking at theatre history in Boulder, Colorado – never expecting to discover a drop curtain in the gold-mining region of Western Australia attributed to Goatcher. The City of Kalgoorlie-Boulder is a major mining center and current home to over 30,000 people working in a wide range of businesses servicing the community and the mining industry.

The Boulder Town Hall with a painted front curtain by Phil W. Goatcher

As a piece in the puzzle of Goatcher’s legacy, it is an appropriate time to add in this information about historic scenery and the need for conservation. The painted curtain in the Boulder Town Hall depicts the scene of the Bay of Naples, showing Vesuvius in the background. Some historians suggest that the composition was designed in recognition of the Italians working in the Eastern Goldfields at that time. The drop measures 20’ high by 26’ wide. Signed and dated “Phil W. Goatcher 1908,” it is believed that this is the only surviving backdrop by Goatcher left in the world. Interestingly, the original 1908 stage machinery is still used to raise and lower the curtain.

Inside the Boulder Town Hall with Phil W. Goatcher’s painted front curtain.

Phil W. Goatcher’s 1908 painted front curtain at the Boulder Town Hall

As with many painted scenes, the Goatcher curtain was forgotten over time as the hall and stage scenery were used less and less. The canvas was severely deteriorated when it was rediscovered in 1990. There were cuts, tears, water damage, and vandalism. The canvas had been partially over-painted with white for use as a movie screen sometime in the 1940s.

An 1994 conservation report estimated the cost of restoration at $224,000. Funds were immediately raised to carry out the work as the community saw value in their large-scale artwork. Once again, pride in ownership saved one more piece of theatre history!

Detail from Phil W. Goatcher’s 1908 painted front curtain at the Boulder Town Hall

There are several sites that depict some of Goatcher’s surviving fine artworks, most notably a 1916 oil painting of ‘The Annunciation” at St. John’s Anglican Church in Freemantle. There is also a 1922 mural painted for the Anglican Church in Collie, a coalmining town in Western Australia’s south-west. It is wonderful to see that a piece of a theatre history will live forever in Australia.

To be continued…

Tales from a Scenic Artist and Scholar. Part 380 – Phillip William Goatcher, Art Instructor of Homer Emens

Part 380: Phillip William Goatcher, Art Instructor of Homer Emens

The artistic mentor of Homer Emens was Phil Goatcher (1851-1931). Goatcher was characterized as “Well travelled, well read, a born raconteur and practical joker.” He was fascinating; In Melbourne, Australia, a horse race was named after him. Some reports from 1890 note that Goatcher was the highest paid scene painter in the world. So, who was Goatcher?

Philip William Goatcher was born November 23, 1851, in London. He first worked as a young law clerk at Lincoln’s Inn Chambers in London. During this time, he visited Sadler’s Wells Theatre and the experience left quite an impression, sketching scenes and other doodles from the stage on office pads. Later in life, Goatcher said, “Stage painting was to my mind the greatest achievement of man, so the desire to study the art took root deeply.”

By the age of 14, Goatcher accepted an apprenticeship with a Liverpool shipping firm, and began to travel on the high seas. He sailed to Melbourne, Australia in 1866 as an apprentice seaman on the True Briton and later on the Dover Castle. The second voyage he jumped ship near Melbourne and walked to his aunt and uncle’s home in Ballarat. Some accounts suggest he jumped ship to head for the gold fields, but failed to strike it rich. Regardless, in Ballarat Goatcher was employed backstage by John Hennings, Melbourne’s lead scenic artist at the Theatre Royal. Hemmings predicted that the young man had a great potential to be a successful scenic artist. However, the wages for a young man entering the scenic art filed were poor and the opportunities scarce.

It was gold fever lured Goatcher away from Melbourne and to New Zealand, and then to Californa. An additional incentive to leave for the West Coast was an invitation from Henry E. Abby of the Park Theatre. Goatcher left Sydney for San Francisco, traveling through the South Sea Islands. In San Francisco Goatcher found a new mentor, the scene painter William Porter. Goatcher also met J. C. Williamson, an American actor who would later become a prominent theatre director in Australia. His stay was brief and Goatcher was once again on route, this time to New York by way of Mexico and Panama. At the time, Goatcher was only 19 years old, but after arriving in New York he soon began working for the scenic artist Matt Morgan. Morgan worked at Niblo’s Garden.

Goatcher stayed in New York until the age of 22, when he finally returned to England. By 1873 he was painting settings as an assistant to the scenic artists at the Drury Lane and Covent Garden theatre. At the age of 24, he married Alice Little and established a decorative-arts business in the West End. The business did not last when Goatcher decided to return to America as projects surrounding the Centennial Exposition offered substantial profits. He remained in the United states for the next fifteen years, spending an entire decade at Wallack’s theatre where he remained the chief scenic artist from 1875-1885.

Goatcher was naturalized as a US citizen in 1882 and listed his residence as Lexington Avenue in New York. In 1888, at the age of 27, he entered into a partnership with John H. Young as “Goatcher & Young” at 44 West 30^th Street. Keep in mind that Young had worked with Moses up to 1882 and permanently moved to New York in 1884.

Advertisement listing the scenic artists as “Goatcher and Young,” from the Chicago Tribune, 29 Sept 1889, page 6

In 1889 Goatcher and Young created the scenery for “King Cole II” at Hermann’s Philadelphia Theatre. The show was reported to be “one of the most gorgeous affairs of its kind ever gotten up in this country” (Morning Call, Allentown, Penn., 21 April, 1889, page 5).

Advertisement listing Phil W. Goatcher as the scenic artist for “King Cole II,” from The Times (New York) 14 April 1889, page 9

In the US Goatcher he painted scenery for the companies of Dion Boucicault, Edwin Booth, David Belasco, Edwin Booth, and Lillie Langtry. His specialty was not only drop curtains, but also pastoral landscapes, complete with wonderful translucent effects. His techniques were characteristic of the English tradition working up a backdrop with glazes. Goatcher especially excelled at painting scenery for Shakespearean production.

Goatcher and his first wife Alice had four children, but the marriage did not survive and the divorce was messy. In addition to domestic strife, Goatcher also struggled with chronic bronchitis. In 1890, Goatcher returned to London with his two eldest sons accompanied and accepted a position at the Adelphi Theatre. In London he worked for Hawes Craven, the leading stage designer for Henry Irving and Richard D’Oyly Carte. His projects also included settings for Gilbert and Sullivan productions. However, he was not destined to remain in England for long and returned to Melbourne that same year to work at Melbourne’s Princess Theatre.

At this time, Goatcher was 38 years old and a well-respected; he accepted a three-year contract with J. C. Williamson to work at his scenic artist in Melbourne (Arkansas Democrat, 22 July 1890, page 8). Goatcher’s first project was ‘The Gondoliers’ that October. He soon earned the nickname “Satin n’ Velvet Goatcher” for his elaborate painted textile drops.

Phil W. Goatcher working on the paint frame, nd.

Continued health issues prompted Goatcher to relocate to Perth, in hopes the dry climate would prove to be therapeutic for his acute bronchitis. There, he recreated the original scenery from his London and New York productions of ‘The Silver King’ (1882-83) for the Theatre Royal production in Perth during 1897. By 1899 he found love again and married a woman from Sydney, Emma Stone. More than 20 years his junior, the couple had twin sons, with only one surviving infancy. In West Perth Goatcher set up a successful painting and decorating business, later partnering with his son James. Decorative projects included the smoke room at Melbourne’s Menzies Hotel, Sydney’s Palace Theatre, the Singer Sewing Machine showroom in Sydney’s Queen Victoria Building, and the painted auditoria of Her Majesty’s Theatre, Melbourne.

An interesting image depicting scenic artists on the paint bridge at the Criterion Theatre in Sydney.

In 1913, his second wife Emma passed away on Christmas Eve. As a 65-year-old widower, Goatcher purchased land in Dalwallinu during 1916, where he became not only a member of the Roads Board, but also a Justice of the Peace. Goatcher died in West Perth on the 8th October 1931 at the age of 80 and was buried in the Anglican section of the Karrakata Cemetery next to his second wife. Goatcher’s reminisces were published in a few publication that included the Australian Star (27 December 1890), Table Talk (31 October 1890, 8 January 1892) and the New Zealand Herald (11 March 1927).

To be continued…

Tales from a Scenic Artist and Scholar. Part 379 – Homer F. Emens, a student of Phillip Goatcher and John Mazzanovich

Part 379: Homer F. Emens, a student of Phillip Goatcher and John Mazzanovich

The past two installments described the design process and scenic art of Homer Franham Emens (1862-1930). Here is a little more information about this well-known New York artist who was a contemporary of Thomas G. Moses. He was nationally recognized as a fine artist, trained in both the United States and Europe.

Emens was born in Volney, New York, and began a career as an artist in Syracuse, New York. He soon moved to New York City for further artistic instruction and studied with Phillip W. Goatcher (1851-1931), the principal designer at Wallack’s Theatre from 1875-1885.

Another artist at Wallack’s theatre who worked with Goatcher was John Mazzanovich. He painted for various theatres, including Niblo’s Garden and the Standard Theatre. Mazzanovich also became a mentor of Emens. The Chicago Inter Ocean recognized Mazzanovich as one “who used his brush with singular facility and felicity” and “had excellent qualities as a draughtsman and colorist and a delicate and refined fancy” (Chicago Inter Ocean June 12, 1886, page 8). However, Mazzanovich’s instruction was short-lived, as the well-known artist died at the young age of 30 in 1886. It was after Mazzovich’s death that Emens really started designing scenery on his own. It was common at the time for various scenes in a production to be assigned to different artists.

By 1894, Emens sought additional artistic training in Europe, understanding the value of classical training and having a great desire to improve his own artistic abilities. Upon his return to New York, he resumed his career in scenic art, but also began exhibiting paintings with the National Academy of Design, the Society of American Artists, and the Art Institute in Chicago. In 1904 Emens returned to Europe to advise on scenery design. Work in the United States included partnering with Edward G. Unitt to work for some of the most prominent theatres in New York, Boston, and Washington, D.C. At the height of Emens career, he managed eight scenic studios. His accomplishments included being the scenic director for the Metropolitan Opera for over a decade.

During WWI, Emens worked for the Department of the Navy to create a new system of camouflage. By the 1920s, Emens and his wife moved to the West Coast. Their first home was in Santa Barbara, but later moved to Camel, constructing studio-home in the Eighty Acres Tract on Torres Street and Eighth Avenue. He concentrated on landscape painting during this period, exhibiting with the Carmel Art Association. Emens is a nationally recognized fine artist of both oils and watercolors.

The Internet Broadway Database (IBDB) has an extensive list of productions that Emens worked on. It is an impressive list that provides some context for his contribution to Broadway productions. Here is the link: https://www.ibdb.com/broadway-cast-staff/homer-emens-26159

“The Main Line, or Rawson’s Y” (1886 with Phil Goatcher)

“Lohengrin” (1886 Academy of Music with William Voegtlin)

“Lakme” (1886 Academy of Music with Charles Graham and William Schaeffer)

“Faust” (1886 Academy of Music with Gaspard Mauder, William Schaeffer, Hughson Hawley, Thomas Weston, Mark Apjohn and Otto Namzynowski)

“Mikado” (1886 Academy of Music with William Voegtlin)

“Dr. Jekyll and Mr. Hyde” (1887 with Hughson Hawley)

“Dorothy” (1887 with Walter Burridge and Hughson Hawley)

“A Midnight Bell” (1889)

“The Black Crook” (1893 with Albert, Grover & Burridge, J. S. Getz, John W. Sommer, and J. S. Clare)

Program of the 1893 production of “The Black Crook” at McVicker’s Theatre in Chicago. Scenery was produced by Homer Emens, with Albert, Grover & Burridge, J. S. Getz, John W. Sommer, and J. S. Clare.

“Gismonda” (1894 with Joseph Clare, D. Frank Dodge, Richard Marston and Ernest Albert)

“For the Crown” (1896 with Richard Marston)

“The Village Postmaster” (1896)

“The Old Homestead” (1898, 1907, 1908)

“Erminie” (1899 with Richard Marston)

“Peter Stuyvesant” (1899 with Richard Marston)

“More Than Queen” (1899)

“Chris and the Wonderful Lamp” (1900 with F. Richard Anderson, Frank E. Gates, E. A. Morange, and Ernest Gros )

“Lost River” (1900 with Frank E. Gate and E. A. Morange)

“Monte Cristo” (1900 with Frank E. Gates, E. A. Morange, Ernest Gros and John H. Young)

“Dolly Varden” (1902 with John H. Young)

“Her Lord and Master” (1902)

“Mary of Magdala” (1902 with Frank E. Gates and E. A. Morange, and 1903)

“Captain Dieppe” (1903 with Edward G. Unitt)

“Babes in Toyland” (1903 with John H. Young)

“The Office Boy” (1903 with Edward G. Unitt and Joseph A. Physioc)

The Girl From Kay’s” (1903 with Edward G. Unitt and Ernest Gros)

“Babette” (1903 with Edward G. Unitt)

“The Man and I” (1904 with Joseph A. Physioc, Edward G. Unitt, and Ernest M. Gros)

“Piff! Paff! Pouf!” (1904 with Edward G. Unitt)

“A Venetian Romance” (1904 with Edward G. Unitt and Joseph A. Physioc)

“A Madcap Princess” (1904 with Edward G. Unitt)

“Granny” (1904 with Edward G. Unitt)

“The Two Roses” (1904 with Edward G. Unitt)

“The Winter’s Tale” (1904 with Castle & Harvey, Ernest Albert and Edward G. Unitt)

“Babes in Toyland” (1905 with John H. Young)

“Cousin Billy” (1905 with Ernest M. Gros and Edward G. Unitt)

“The Duchess of Dantzic” (1905 with Thomas Mangan and Edward G. Unitt)

“The School for Husbands” (1905 with Edward G. Unitt)

“Miss Molly Dollars” (1905 with Edward G. Unitt)

“Beauty and the Barge” (1905 with Edward G. Unitt)

“Just Out of College” (1905 with Edward G. Unitt)

“Mlle. Modiste” (1905, 1906, and 1907 with Edward G. Unitt)

“The Mountain Climber” (1906 with scenery painted by Emens and Unitt)

“The Little Father of the Wilderness/The Mountain Climber” (1906 with Edward G. Unitt)

“About Town” (1906 with Edward G. Unitt and Arthur Voegtlin)

“The Red Mill” (1906 with Edward G. Unitt, F. E. Gates, E. A. Morange)

“The Great Divide” (1906 with Edward G. Unitt, and 1908)

“Eileen Asthore” (1906 with Edward G. Unitt and Joseph Wickes)

“Cymbeline” (1906 with Edward G. Unitt)

“The Blue Moon” (1906 with Edward G. Unitt, Ernest Albert, and Joseph Wickes)

“Pippa Passes” (1906 with Edward G. Unitt and Joseph Wickes)

“The Straight Road” (1907 with Edward G. Unitt, Alexander Corbett, and Joseph Wickes)

“The Rose of Alhambra” (1907 with Edward G. Unitt, F. E. Gates and E. A. Morange)

“The Tattooed Man” (1907 with Edward G. Unitt and Joseph Wickes)

“The Spoilers” (1907 with Edward G. Unitt and Joseph Wickes)

“His Excellency the Governor” (1907 with Edward G. Unitt and Joseph Wickes)

“The Rogers Brothers in Panama” (1907 with Walter Burridge and Ernest Albert)

“The Step-Sister” (1907)

“The Hoyden” (1907)

“Artie” (1907)

“The Right Way” (1907 with Richard Marston)

“O’Neill of Derry” (1907 with Edward G. Unitt and Joseph Wickes)

“Funabashi” (1908 with Edward G. Unitt and Young Brothers & Boss Co.)

“Lonesome Town” (1908)

“A Waltz Dream” (1908)

“The Prima Donna” (1909)

“The Fair Co-ed” (1909)

“The Candy Shop” (1909 with John H. Young)

“The Taming of the Shrew” (1909 with Edward Unitt)

“The Old Town” (1910)

“The Arcadians” (1910)

“The Merry Whirl” (1910 with John H. Young)

“The Girl in the Train” (1910)

“Barry of Ballymore” (1911 with Edward G. Unitt and Joseph Wickes)

“The Siren” (1911)

“The Rose of Panama” (1912)

“Robin Hood” (1912 with Frank E. Gates and E. A. Morange)

“The Girl from Montmatre” (1912)

“Oh! Oh! Delphine” (1912 with Edward G. Unitt and Joseph Wickes)

“The Lady of the Slipper” (1912)

“The Isle o’ Dreams” (1913)

“The Sunshine Girl” (1913 with Ernest Albert)

“The American Maid” (1913)

“The Marriage Market” (1913)

“Pretty Mrs. Smith” (1914 with Robert Brunton and Kellam)

“Chin Chin” (1914)

“Cousin Lucy” (1915)

“The Princess Pat (1915)

“Hip! Hip! Hooray!” (1915 with Mark Lawson, F. E. Gates, E. A. Morange and Ernest Albert)

“Sybil” (1916)

“Betty” (1916)

“Rambler Rose” (1917 with Baron Voruz de Vaux)

“Jack O’Lantern” (1917 with Ernest Albert and Joseph Urban)

“Come Along” (1919 with F. E. Gates and E. A. Morange)

To be continued…