Noxon, Albert & Toomey – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1025 – Patrick Joseph Toomey, 1919

In 1919, Thomas G. Moses wrote, “The Madam and I started for a river trip down into Alabama by way of St. Louis. I have written this trip in detail in my travelogues. It was a most enjoyable trip, during which I made pencil sketches. We had a nice time in St. Louis at Kirke Moses’ home, and at P. J. Toomey’s new home.”

From the “St Louis Post Dispatch,” 13 March 1922, page 14.

Patrick Joseph Toomey was the co-founder of Toomey & Volland, a main competitor to Sosman & Landis during the early twentieth century. I have explored the life and career of Toomey in past posts, but it is time to revisit this well-known scenic artist. Toomey worked in many theaters across the country, especially those in St. Louis, including, Pope’s, the Olympic, and the Century. At one time, he also painted for the Knickerbocker Theatre in New York City.

In 1894, Toomey’s US Passport application described him as 5’-7” tall, light brown hair, blue eyes, gold rimmed spectacles, and a fair completion.

From the “St. Louis Post-Dispatch,” 2 April 1896, page 5.

By 1896, the “St. Louis Post-Dispatch” featured Patrick J. Toomey, including a brief biography next to a portrait of him (St. Louis Post-Dispatch, 2 April 1896). The article reported, “Patrick J. Toomey was born in Limerick, Ireland in 1854 and came to St. Louis with his parents as an infant. He received his education at the Christian Brothers’ College and in the public schools. His first employment was in the retail grocery trade. After a few years he found this work uncongenial and apprenticed himself to scenic art under Mr. Thomas C. Noxon at Deagle’s Varieties. With his tutor, four years later, he formed the partnership of Noxon & Toomey, continuing in the same line ever since. In connection with Mr. Noxon, Mr. Toomey has been the scenic artist at the Olympic Theater and Grand Opera House for over twenty years. In 1886, he married Miss May Vogt, a daughter of Dr. Wm. Vogt of Iowa City, Iowa.”

Thomas Toomey and Ellen Kane were Irish immigrants who arrived in America sometime between 1850 and 1854. A 1920 census record notes that the Toomeys arrived in the United States in 1854 and Patrick became a naturalized citizen by 1904. Patrick Toomey’s US Passport application from 1894 lists that he was born on Nov. 27, 1854, emigrated to the United States in 1855, was naturalized on March 8, 1894. There is quite a bit of discrepancy regarding Toomey’s year of birth, year of emigration, and year of naturalization, as historical records provide conflicting information. A 1900 census lists his being born in February 1853, whereas a 1910 census, notes his birth year as 1848; the 1910 census notes his age as 62 at the time. The 1910 census also lists his year of immigration as 1850. On the other hand, a 1922 obituary reports his birth year as 1851, so take your pick. Regardless, Toomey left Ireland with his parents when he was just extremely young and grew up in St. Louis, Missouri.

After apprenticing with Noxon at Deagles’ Variety Theatre in St. Louis, Noxon and Toomey established a scenic studio around 1867, this also supports a birthyear of 1848-1851, not much later. Noxon was the firm’s president and senior partner in the company. Ernest Albert joined the scenic studio by 1881 and the firm’s name changed to Noxon, Albert & Toomey by 1883. At this time Toomey was reported to be “the itinerant member of the firm” (“Richmond Dispatch,” 24 Jan 1886, page 3).

1886 Johnson County records indicate that P. J. Toomey married Mary Isabelle Vogt in Iowa City on Oct. 5. The daughter of William Vogt and Mary O’Connor born on Dec. 20, 1859, she was 27 years old at the time. Toomey’s age at the time was also recorded as 35 years old, placing his possible birthdate, again, as 1851-1852. The couple celebrated the birth of one child, Thomas Noxon Toomey. Born in 1893, he entered the medical field, becoming a who a doctor. All three were picture in a postcard mailed to Thomas G. Moses in 1908.

Patrick J. Toomey, Thomas Noxon Toomey and Mary Vogt Toomey, 1908.

The projects completed by Noxon, Albert & Toomey dramatically increased during the 1880s and lasted for almost a decade, establishing regional branches in Chicago, Illinois and Cedar Rapids, Iowa. In Chicago, Noxon, Albert & Toomey used the paint frames at the Chicago Opera House, with Albert leading the scenic production for the Chicago Opera House. This is likely when Moses and Toomey first encountered one another. At this time, Toomey traveled throughout the country, but still kept his home residence in St. Louis.

In 1889, Albert left the studio and then name changed, again, to Noxon & Toomey. Their partnership continued until 1898 when Noxon passed away from Nephritis. At the time, Toomey was quoted as saying, “Mr. Noxon was the greatest scenic artist this country has produced. He was 69 years of age and had done work for the leading theaters of the country, besides what he did in way of pageantry. (“The Weekly Wisconsin, 25 June 1898, page 4).

By 1901, Toomey established his final business – Toomey & Volland. His began a new business venture with another scenic artist, one who had previously worked at Noxon & Toomey – Hugo R. Volland. Volland emigrated from Grossbremback, Germany, during the late 19^th century, and soon found work as the secretary of Noxon & Toomey.

The new Toomey & Volland Scenic Co. studio, built in 1922.

Toomey passed away from a heart attack in 1922. On March 15, 1922, the “St. Louis Globe-Democrat” reported: “TOOMEY – Suddenly, on Sunday, March 12, 1922 at 9:30 a.m., P. J. Toomey, beloved husband of Mary Vogt Toomey, father of Dr. Noxon Toomey. Funeral will take place from the family residence, 11 Aberdeen place, Hillcrest, on Wednesday morning, March 15, at 8:30 o’clock, to our Lady of Lourdes Church Interment in Calvary Cemetery. Deceased was a charter member of St. Louis Lodge, B.P.O.E.”

The “St. Louis Post-Dispatch” reported that Toomey was “one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14). The article added that Toomey was best known, for his creation of the first floats for the Veiled Prophet’s parade and continued this sort of work for 25 years, only giving it up shortly before his death. He achieved fame as an electrical float builder,” known for his work at the Mardi Gras parade in New Orleans and the Milwaukee Carnival (“Wichita Daily Eagle,” 13 July 1900, page 6).

To be continued…

Tales from a Scenic Artist and Scholar. Part 613 – Scenic Artists as Theatre Managers – Sosman, Landis & Hunt and Noxon, Albert & Toomey

Part 613: Scenic Artists as Theatre Managers – Sosman, Landis & Hunt and Noxon, Albert & Toomey

Greene’s Opera House in Cedar Rapids, Iowa

Greene’s Opera House opened its 1885-86 season under new management – the well-known scenic trio of “Messrs. Noxon, Albert & Toomey.” When I realized that this St. Louis scenic studio expanded their business to include theatre management, I immediately thought of another scenic studio who did the same thing – Sosman, Landis & Hunt. Sosman & Landis was not only involved with the manufacture of painted scenery and stage machinery, but also the founding of the American Reflector & Lighting Company.

Manufactured by the American Reflector and Light Co. Chicago. Found in the attic f the Yankton Scottish Rite during the fall of 2017.

Advertisement for the American Reflector & Lighting Co. in the Sosman & Landis Catalogue in 1894

The 1890s were a time of transition for Soman & Landis, as the two men expanded their business and diversified their investments. Although they were primarily involved with the manufacture of theatrical supplies, Sosman & Landis entered the theatre management business when they became involved with the construction and management of two electric scenic theatres atop the Masonic Temple Roof during 1894. When the Columbia Exposition closed during the fall of 1893, Sosman & Landis began plans to convert the Masonic Temple roof top into two electric scenic theatres. The “roof garden” space atop the Masonic Temple was 302 feet from the ground, an incentive to draw any audience to see a show. It was Sosman & Landis who designed and managed the venue, complete with chasing electric lights that ran up the center of the building from the first floor to the top.

Advertisement for the Masonic Temple Observatory and Roof Garden in the Sosman & Landis Catalogue, 1894.

Sosman, Landis & Hunt also managed the Pike Opera House in Cincinnati during 1894. They soon added a second venue – the Grand Opera House in Indianapolis and the Grand Opera Stock Company there. By 1900 the theatrical management firm was contemplating a move to Detroit and I wondered if this was yet another connection to theatre architect J. M. Wood, as well as the Detroit Opera House and Temple Theatre. David Hunt, of Sosman, Landis & Hunt, was a manager and theatrical producer who ran this this particular branch of the Sosman & Landis empire.

David Hunt of Sosman, Landis & Hunt, from the “Detroit Free Press,”21 May 1903, page 12

Hunt first worked in a marketing position as an employee of Sosman & Landis until Sosman, Landis & Hunt was formed in 1894. By 1897, Hunt led the remodeling and redecorating the Pike Theater in Cincinnati, hiring Chicago theatric architect Sidney R. Lovell – J. M. Wood’s business partner of the time (Wood & Lovell, see past installment 610). This is also just prior to Wood’s work on the Temple Theatre in Detroit and the subsequent 1898 roof collapse.

Sosman, Landis & Hunt primarily managed big vaudeville theaters, but also managed touring stock companies, such as the Pike Opera House Company. In addition to large vaudeville houses, and touring shows, the firm also looking after four summer theaters that they controlled in Atlantic City and Asbury Park.

Hunt later moved to New York and founded New York Studios, the eastern affiliate of Sosman & Landis. Similarly, the Sosman & Landis Studio was referred to as the western representative of New York Studios. I have covered Hunt extensively in past posts (see installments #304-307)

For me, discovering a second studio that also entered the theatre management business is significant. Looking at the all the players and the relationships, it was really a small world with a very tight network for such a large country.

To be continued…

Tales from a Scenic Artist and Scholar. Part 612 – Noxon, Albert & Toomey, Lesees and Managers of Greene’s Opera House

Part 612: Noxon, Albert & Toomey, Lesees and Managers of Greene’s Opera House

Yesterday I explored the construction of Greene’s Opera House, built in 1879.

Greene’s Opera House opened its 1885-86 season under the new management – the well-known scenic trio of “Messrs. Noxon, Albert & Toomey.” In 1885, the firm advertised as “Scenic and Decorative Studios” with main offices located in the Olympic Theatre and Grand Opera House in St. Louis, Missouri. Their advertisements stated “Estimates and information for stocking new opera houses a specialty.” Noxon, Albert & Toomey decorated the interior of Greene’s Opera House in 1880 and painted the scenery for Greene’s Opera House in 1883. By 1885 they were managing the venue. Lets look at these three individuals as each man was remarkable in his own right.

1885 letterhead for Noxon, Albert & Toomey

Greene’s Opera House advertisement noting Noxon, Albert & Toomey as lessees and managers, from the “Evening Gazette,” 10 May 1886, page 3

Thomas C. Noxon and Patrick J. Toomey established a scenic studio in St. Louis, Missouri, during 1869. Ernest Albert joined the two by 1881 to form Noxon, Albert & Toomey. The firm rapidly expanded to have regional offices in Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade. This immediately peaked my interest because Sosman & Landis had also entered into the theatre management business during the nineteenth century, creating another company, Sosman, Landis & Hunt.

Thomas C. Noxon (1829-1896) worked as both a scenic artist and a decorative painter, heading four theatrical painting firms during his lifetime: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey. Noxon was always the senior partner and managed the various studios from each ones inception until his illness in 1896.

Noxon was born in Montreal, Canada, and immigrated to the United States as a child. Initially living in Zanesville and in Millerburg, Ohio, Noxon attended public schools there. For a time he lived in Detroit, and that was where he entered the theatrical profession. At the age of sixteen in 1845, he moved to St. Louis and studied art. According to his certificate of membership in the American Dramatic Fund Association, he entered the theatre profession in 1852 at the age of 22. On a side note, Noxon designed the St. Louis production of “The Black Crook” in April 1867. Noxon was married twice. His first wife, Ann Hazzard, and the couple had three daughters. In 1885, Noxon married for a second time to a “Mrs. Selvers.” first name unknown at this time. In 1884, the St. Louis Post-Dispatch reported, “Mr. Noxon stands in front rank of curtain and scene painters, and for special features like Mardi Gras and Veiled Prophet pageants, is recognized throughout the Mississippi Valley as the most competent man in the profession” (St. Louis Post-Dispatch, 21 Jan. 1884, page 8). At the time of his passing in 1898, the “Dramatic Mirror” reported, “His name appears on the corner of theatrical curtains in almost every large city in the country, and is also seen in the theatres of Europe” (2 July 1898, page 6).

Patrick J. Toomey from the “St. Louis Post-Dispatch,” 2 April 1896, page 5

Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He received his education in the public schools and at Christian Brothers’ College. His first employment was in the retail grocery trade, but he soon found the work untenable and apprenticed himself to Noxon at Deagle’s Varieties. The two continued to work together until Noxon passed away in 1898. Toomey was best known for his electrical floats, excelling in this line of work for 25 years. Three years before he passed, Toomey retired as president of Toomey & Volland, handing the reins to his business partner Hugo R. Volland. Toomey died from a heart attack in 1922. At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14). Toomey married Miss May Vogt had only one child, a son -Noxon Toomey.

Ernest Albert Brown (1857-1946) was born to Daniel Webster and Harriet Dunn (Smith) Brown in Brooklyn, New York. His father was a member of a clothing merchants firm, Whitman & Brown in New York City and Albert attended public schools. He later entered the Brooklyn Institute of Design, winning an award in 1873. During his time at the Institute, he also worked as a newspaper illustrator and later began painting for the theatre. Albert started working for the famed scenic artist Harley Merry in 1877. By 1881, he was working as a scenic artist and art director at Pope’s Theater in St. Louis with his work attracting much attention. There that he met and partnered with Noxon and Toomey by 1883; the three establishing the firm Noxon, Albert & Toomey.

The firm expanded John Norton, the manager of the Grand Opera House of St. Louis, moved to Chicago, when he accepted a new management position at the Chicago Opera House. There the firm sent Albert to paint there. Noxon, Albert & Toomey used the paint frames at the Chicago Opera House to paint scenery not only for the Chicago opera house, but also scenery for smaller theaters and combination companies. Albert stayed with Noxon, Albert & Toomey until 1889. After his departure, the firm was name Noxon & Toomey.

As for Albert, in 1890 he went on a few sketching trips with Oliver Dennett Grover (1861-1927), Walter Burridge (1857-1913), and Thomas G. Moses (1856-1934). They were all around the same age, each an accomplished artist in his own right. Upon their return, a new scenic studio was established in Chicago – Albert Grover & Burridge. This company built a new type of scenic studio, complete with a full-scale display area, complete with electrical lighting to show completed settings to their clients. It only lasted a few years before each artist went his own way – again.

Tomorrow, I will present the parallel to the theatrical management side of Noxon, Albert & Toomey’s management endeavors – those of Sosman, Landis & Hunt.

To be continued…

Tales from a Scenic Artist and Scholar. Part 467- Curtain and Scene Painting

Part 467: Curtain and Scene Painting

Painted drop curtain by the Twin City Scenic Co. of Minneapolis, Minnesota. Here is the link to the University fo Minnesota Performing Arts Archives scenery collection database: https://umedia.lib.umn.edu/scenicsearch

While researching scenic art projects by Thomas C. Noxon and Patrick J. Toomey, I came across an interesting article about curtain and scene painting from 1884. It was published in the “St. Louis Post-Dispatch” (21 Jan. 1884, page 8). Here it is in its entirety as there is a wealth of information about the scenic artists of the time who specialized in drop curtains:

“Curtain and Scene Painting

The Leading Artists of the Country and the Prices Paid for Their Work.

“The return to drapery in drop curtains,” said Mr. Thomas C. Noxon of the art firm of Noxon, Albert and Toomey, employed at the Grand Opera House and Olympic, is a return to the old style. Drapery was very common twenty-five or thirty years ago. Now very few curtains are painting any other way; and while some artists adhere to simple combinations of rich materials, without any suggestion of life in the composition, the most popular and the prettiest curtains are those which present views or figures in which there is a suggestion of animation.

The new curtain at the Grand Opera House which was painted by Messrs. Noxon, Albert & Toomey is an example of the latter work. It is a composition presenting a profusion of rich drapery, warm in color, and minutely perfect in technique, drawn back and looped at the side, so as to reveal a bright Florentine picture with a pair of lovers in the foreground, moving toward the polished marble steps that fill the lower portion of the view. No handsomer curtain hangs in any theater in this country.

“What does a new drop curtain cost?” the Post-Dispatch reporter asked.

“About $500 or $600,” was Mr. Noxon’s reply. [The equivalent purchasing power in 2018 is approximately $12,000-$15,000]

“And how long does it take to paint one?”

“All the way from two to three days to five to six weeks. I painted a drop for Tootle’s Opera House, Sedallia, some years ago, in one-half days and got $500 for it, but an artist now seldom turns out a piece of work of this kind in less than three weeks. He can put that much time on it with a great deal of profit.”

“What will it cost to stock a new theatre with scenery?”

“From $2,000-$3,500.”

“And that will include how many sets?”

“Thirty-five. Enough for putting on any legitimate piece.”

“How long does it take to get up special scenery, say for a play like ‘The Silver King’?”

“That piece could be gotten up in two weeks. A fortnight’s notice is all we require to paint the scenery for any piece requiring sets that the theater has not in stock. In all such cases small models are complete reproductions in miniature of the original scenes.”

“There isn’t much work of this kind required of the artist nowadays?”

“No, not much; because many companies are now carrying their own scenery. Those playing melodrama invariably bring their own scenes with them.”

Mr. Noxon stands in front rank of curtain and scene painters, and for special features like Mardi Gras and Veiled Prophet pageants, is recognized throughout the Mississippi Valley as the most competent man in the profession.

Mr. Ernest Albert is a finished artist in the painting of interiors, and has displayed great originality in designing and executing curtains. He is particularly happy in reproducing draperies with a faultlessness of technique that challenges wonder and admiriation.

The other first-class curtain painters of the country do not number more than half-dozen. All enjoy national reputations, and their services are in demand to the other.

Russell Smith, formerly of the Academy of Music, Philadelphia, makes a specialty of landscapes.

Voegtlin, who went from New York to California where he was recently located, also takes to landscapes, but is an admirable figure painter, and will be at the top of the heap again should there be a revival of this style of curtains.

Phil Goatcher, formerly of Cincinnati, but now in New York, paints very pretty satin drops with medallion centers.

Henry E. Hoyt of Colvill’es, Fourteenth street, New York City, has lately started a boom in the direction of drapery without either figures or landscape views. His last curtain, which was of this character, was painted for the Euclid Avenue Opera House, Cleveland. He finished it is three weeks, and got $600.

Messrs. Noxon, Albert & Toomey painted a beautiful curtain and an entire stock of scenery for the new Park Theatre, in the same city, which was destroyed by fire a few weeks ago.

Last but not least is the prominent curtain and scene painters is Richard H. Halley, who came here at the opening of Pope’s Theater, then went to the Grand, and at the beginning of the present season began work at McKee Rankin’s Third Avenue Theater, New York. His silk curtain at Pope’s obtained instant recognition for its artistic abilities, and his later work, although lacking strength and color, has been marked by unusual merit. The curtain in the new Olympic is from his brush. As a painter of exteriors he holds high rank in the profession, and he is acknowledged to be without a peer in the reproduction of foliage.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 461- Changing Partners

Part 461: Changing Partners

In 1903, Moses was studying art with R. M. Shurtleff, preparing to join the Salmagundi Club, and working on a variety of both indoor and outdoor spectacles. He lived in Mount Vernon, New York, but still traveled quite when touring shows opened in other cities. During these travels, his business partner Hamilton “held down the fort” at their Broadway Theatre offices in New York.

Moses & Hamilton was Moses’ his third partnership and it would end in 1904. In 1887 Moses entered into business with a scenic artist and an art dealer to form Burridge, Moses & Louderback (see past installment 132). By 1895 Moses tried his hand at both theatrical management and a scenic studio, establishing the short-lived team of Moses & McDonald (see past installment 336). By 1901, Moses partnered with Hamilton, forming Moses & Hamilton. My research suggests that this “changing partners” was a common occurrence at the time. The country was large, but the word of successful scenic artists was relatively small and partnerships were necessary to attain larger and more profitable projects. This period of time and the world of scenic art made me think of the lyrics from Patti Page’s song “Changing Partners”

We were waltzing together to a dreamy melody
When they called out “change partners”
And you waltzed away from me

(Here is the link to the song, if you have no idea what I am talking about: https://www.youtube.com/watch?v=ARWBstJHBe8)

The scenic art scene during the late nineteenth and early twentieth century was like one big dance; artists tried to successfully maneuver their way across the dance floor, always in search of the best partner. They were simply trying to find that perfect fit and who might ultimately increase their prospects. If they had found the perfect partner at one time, they would try to return; I think of Sosman & Landis repeatedly drawing Moses back into their studio.

Moses’ memoirs trace his interactions with scenic artists during the nineteenth and twentieth centuries, including Patrick J. Toomey of Toomey & Volland scenic studio in St. Louis, Missouri. For years, Moses would always stop by the studio when he was in town and visit with his good friend “Toomey.” Likewise, Toomey would visit Moses and send him postcards from abroad. Scenic artists needed to maintain a close-knit network so that they could not only could keep tabs on their competition, but also maintain a talent pool for larger projects.

Postcard advertising the new Toomey & Volland studio in 1922

These connections were crucial, facilitating potential alliances for upcoming work. Regional alliances were also made, such as that between Sosman & Landis and their affiliate New York Studios. The stylistic interpretation could vary from artist to artist, but the overall approach to the production of painted scenery for the stage remained relatively consistent until approximately the 1920s. At the time the theatrical industry promoted an artistic standard that was founded on established painting techniques developed in the late 17^th and 18^th centuries. Scenic artists created paintings intended to be viewed from a distance, a unique skill that wasn’t intuitive to many fine artists. Scenic art was primarily an apprenticed trade, supported by an individual’s fine art training.

The first decade of the twentieth century is what I consider the golden age of American scenic art. Scenic artists produced successful illusions, just as their predecessors, but had the advantage of electricity. In other words, they had more to work with as technological innovation flooded the theater industry. This greatest strength would later become the scenic art’s greatest weakness. There is a notable shift in American scenic art as electricity, projections, and moving pictures continue to shape the artistic landscape of the entertainment industry. The studios were working with one foot on a firm foundation and another foot precariously placed on a slippery rock. Many studios would quickly ascend, such as Sosman and Landis, but only a few would last for more than a few years. One such company was Toomey & Volland of St. Louis.

Toomey & Volland evolved from an earlier scenic art partnership called Noxon & Toomey. Thomas C. Noxon and Patrick Joseph Toomey joined forces in approximately 1867. Noxon was the firm’s first president and senior partner in the company.

The firm expanded in 1881 and changed its name to Noxon, Albert & Toomey. The famed Ernest Albert was added to the company, while Toomey was reported to be “the itinerant member of the firm” (Richmond Dispatch, 24 Jan 1886, page 3). For more information about Albert, see past installments 131, 133-139, 145, 154, 179, 231, 244 and 248. The company ran regional offices with studios in St. Louis, Missouri, Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade, but Albert eventually returned to Chicago to partner with Walter Burridge and Oliver Dennett Grover, forming Albert, Grover & Burridge. 1891, the three constructed an innovative scenic studio with twenty paint frames and a display area to fully light and stage completed sets for clients. Although there was much promise, the firm went bankrupt in two years.

Back to St. Louis and Toomey’s activities.

When Noxon, Albert & Toomey ended, Toomey formed another partnership in 1892 – the Knox & Toomey Scenic Art Company. Toomey partnered with George Knox, a stage carpenter; the two specialized in float construction and electric pageant wagons. Float for parades had remained a specialty of Toomey’s since 1878. In fact Toomey dominated the float market in St. Louis for the Veiled Profit Procession and ball. This event was St. Louis’ version of the Mardi Gras parade and will be covered in another installment.

By 1901, Toomey switched partners – again. However this would be for the last time. His new business partner was a scenic artist, one who had previously worked at Noxon & Toomey – Hugo R. Volland. Volland migrated from Grossbremback, Germany, and soon found work at Noxon & Toomey as the company’s secretary. He would be a major Masonic asset major contributor to the St. Louis Scottish Rite for both the 1902 and 1924 buildings.

Like Sosman & Landis, Toomey & Volland jumped on the Masonic scenery and stage machinery bandwagon. From 1901 to 1904 their production of Scottish Rite scenery installations included St. Louis, Missouri; Butte, Montana; Joplin, Missouri; Rochester, New York; and Toledo, Ohio. Likewise, Sosman & Landis created Scottish Rite collections for Salina, Kansas; Little Rock, Arkansas; Fort Scott, Kansas; Chicago, Illinois; and Duluth, Minnesota, during this same time. Just as the original 1902 Sosman & Landis scenery for Little Rock is still used in Pasadena, California, so is the original 1902 Toomey & Volland scenery for Joplin still used in Deadwood, South Dakota. These two collections extremely significant within the framework of Scottish Rite history for the Southern Jurisdiction.

Both scenic studios would remain major players in the scene painting industry for the first two decades of the twentieth-century, having a lasting impact on many future generations of artists. Tomorrow, I will star to look at the scenic artist, and good friend of Moses, Toomey.

To be continued…