Noxon & Strauss – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 526 – Raphael Strauss of Noxon & Strauss

Part 526: Raphael Strauss of Noxon & Strauss

Thomas G. Moses wrote, “J. Francis Murphy was an assistant to Mr. Strauss, who was the artist at Hooley’s Theatre in 1874. The well-known illustrator and water colorist, Charles Graham, was also an assistant to Mr. Strauss at this same time.”

Raphael Strauss, published with his obituary in the Cincinnati Enquirer, 8 May 1901, page 1

Raphael Strauss was Thomas C. Noxon’s first partner, establishing the scenic studio Noxon & Strauss in St. Louis, Missouri, during 1868. The company lasted for approximately four years, running from 1868 to 1872. In 1868, Noxon & Strauss painted a setting for “Seven Sisters” at the Olympic Theatre (The New York Clipper, 25 April 1868, page 6).

Strauss and Noxon were both immigrants. Noxon was born in Montreal, Canada, during 1829, and moved to Ohio as a child. At the age of sixteen, he traveled to St. Louis to continue his artistic studies. Noxon worked as a decorative painter, itinerant artist, and studio artist, establishing four scenic painting firms throughout his career: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey. 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). In 1872 Noxon & Strauss were still working together in Chicago at Hooley’s Theatre; the partnership ended sometime after that.

Many scenic artists worked in Chicago after the great fire of 1871, decorating a variety of new buildings as the city rebuilt itself. Noxon & Strauss led painted the new drop curtain and scenery at Hooley’s Theater. “The Chicago Tribune” reported, “The drop curtain will fill the entire stage opening, and is being painted by Noxon & Strauss. The design will be the castle and town of Heidelberg, surrounded by drapery” (10 Dec. 1872, page 8). An “Inter Ocean” article further described the painting, “The original drop curtain design depicted a scene from Heidelberg surrounded with painted drapery. The picturesque castle and town suggesting European origins was common for the time, as many compositions harkened to the old world” (Chicago, Illinois, 14 Sept. 1872, page 4). This drop curtain that was later replaced during 1874 by Strauss, with Murphy and Graham as his assistants. Moses watched as the second drop curtain was created as he gilded the opera boxes while working for P. M. Almini.

By 1878, Strauss was working with Charles Witham. They provided the new scenery for “Uncle Tom’s Cabin” at the Grand Opera House in San Francisco, California. The opera’s new season was inaugurated with the “reconstructed version” of “Uncle Tom’s Cabin.” “The Clipper” reported, “The scenic effects by Witham and Strauss were beautiful and realistic pictures.” (23 Feb. 1878, Vol. 25, page 383).

Raphael Strauss (1830-1901), was a German-American artist who worked throughout the United States during the middle and end of the nineteenth century. Strauss was both a writer and artist, producing landscapes, portraits, miniatures and tinted photographs. Born in Bavaria, Germany, he trained in Munich. Strauss arrived in Cincinnati, Ohio between 1857 or 1858. He was consistently listed in the Cincinnati directories from 1859 until his passing in 1901.

Painting by Raphael Strauss, posted online at: https://americangallery.wordpress.com/2012/06/16/raphael-strauss-1830-1901/

It was the German-American artist, John Auberg (1810-1893), who suggested Cincinnati to Strauss, as he had immigrated a decade earlier, settling in Cincinnati by 1853. There was a large German population of the city. John Auberg also became known as Jean Aubery. Born in Kassel Germany, he first moving to the United States in 1848. Prior to his departure to America, he completed numerous portrait and church commissions throughout Europe. After his arrival in Ohio, he advertised as both a portrait artist and tinter of photographs.

Portrait of Sarah Worthington King Peter by Jean Aubery, 1854

During 1859 Strauss tinted photographs alongside Ausbery, Israel Quick, David R. Hoag, Williams Porter and Allen Smith Jr. They all worked at 100 West Fourth Street in Cincinnati. In 1862, the group divided, resulting in two firms: Hoag & Quick and Porter & Strauss. The partnerships lasted throughout the Civil War years. Strauss’ art studio was located at the corner of John and Everett Streets. He traveled throughout the region as an itinerant artist; working on various projects that included scenic art, miniatures and portraits. As many of his colleagues, Strauss was both a fine artist and scenic artist.

By 1869, Strauss again shared a studio in the second Pike Opera House Building; Aubery, Quick, Adrian Beaugureau, Frank Duveneck, and Dwight Benton were among the artists. (The Cincinnati Enquirer, 12 Feb. 1933, page 49). This six-story structure replaced the first Pike’s Opera House after it was destroyed by fire in 1866. The second Pike’s Opera House theater was located on the second floor, with offices above, located on Fourth Street between Vine and Walnut streets. It was similar to the first entertainment venue, but was expanded to cover an entire city block.

The Pike Opera House in Cincinnati, Ohio

During the 1880s and early 1890s, Strauss continued to share a studio with Aubrey in the Pike’s Opera House Building at 152 West 4^th Street. Their studio became a local salon for artists and art lovers alike. In his final years, Aubrey was known as “the ancient Aubrey,” while nurturing younger artists in Cincinnati’s “over the Rhine” community.

Strauss’ worked was exhibited at the 1863 Western Sanitary Fair, the Cincinnati Industrial Expositions (1871 and 1873), and the Art Institute of Chicago (1897). He later became vice president of Cincinnati Art Club. By 1895 he was still active with the group as its secretary (The Boston Globe, 27 Oct. 1896, page 28).

Strauss passed away in Avondale at the age of 71. His residence was 565 Hale Avenue. Strausss’ obituary reported, “He was a prominent in art circles, being a member of the Cincinnati Art Club and the Order of B’ne B’rith. Mr. Strauss leaves a widow and four children. Phillip Strauss, Mrs Julius Freiberg and Mrs. Dan Goldstein of this city, and Joseph Strauss, of Chicago” (The Cincinnati Enquirer, 8 May 1901, page 7). Joseph B. Strauss was a structural engineer and designer who revolutionized the design of bascule bridges He established the Strauss Bascule Bridge Company of Chicago and later became the chief engineer of the Golden Gate Bridge, passing away only one year after the bridge’s completion. Strauss’ widow of 43 years was Caroline Baermann. Once a pianist, an accident ended her concert career.

To be continued…

Tales from a Scenic Artist and Scholar. Part 469 – Myer’s Opera House

Part 469: Myer’s Opera House

While researching Noxon & Strauss (later Noxon & Toomey), I came across mention about a drop curtain they painted for Hooley’s Theatre during 1872. Two theaters were mentioned in the article titled “Rebuilding and Real Estate” (Inter Ocean, Chicago, Illinois, 14 Sept. 1872, page 4). The article described the construction of Hooley’s and Myer’s. Interestingly, Noxon’s next business partner, Halley, would be painting the scenery for Myer’s while Noxon painted the scenery with Strauss for Hooley’s. At the time, Halley was partnered with Lou Malmsha. Malmsha became the scenic artist for McVicker’s and was well-known across the country (see past installments 123, 124, 165 and 198 for more information about Malmsha). Thomas G. Moses started his theater career as an assistant to Malmsha in 1874, just two years after this article was written. It provides a little insight into the fitting up of a theater during the 1870s.

Samuel Myers, formerly connected with McVickers Theatre, opened his opera house on September 23, 1872. It was a venue primarily devoted to minstrelsy. Here is the article:

“Myers Opera House

Work on Myer’s theater is being rapidly brought to a close, and Monday the 23rd. Is announced as the opening night. Located on Monroe street, just west of State, the establishment is easy to access from each of the more densely populated divisions of the city, and bids fair to gain its full share of theatrical patronage. Following is a brief description of the interior as it will appear on opening night:

The entrance from Monroe Street leads through a long hall, thirteen feet wide, finely frescoed and lighted by a number of large chandeliers, to the door of the auditorium. On the left of the hall, and just without the door is the stairway leading to the upper circles. The auditorium consists of a parquetted, dress circle, balcony circle and gallery. The extreme dimensions are 55 by 102 feet. The parquetted, and dress and balcony circles are furnished with black and walnut sofas, elegantly upholstered by Messrs. J. V. Farwell & co., forming an amphitheater. The walls and ceilings are handsomely frescoed in panels on a light buff ground, by Messrs. Schubert & Koenig, the firm that had charge of the decorations in Crosby’s Opera House before the fire. The center of the ceiling over the parquetted rises in a dome, from which hangs and elegant glass chandelier with 125 lights. The seating capacity is about 1,100. Three large doors can be thrown open in case of fire or accident.

The stage opening is 27 feet 4 inches wide, flanked on either side by a proscenium box, ornaments with satin damask curtains corresponding in color with the upholstery of the parquetted and balcony circles. The stage is thirty-five feet in depth and provided with “all modern improvements.” The scenery has been painted by Messrs. Malmasha and Hally, and is so extensive as to forbid more than a partial description here. The drop curtain fills the entire stage opening. At the top a false valance of amber and gold reaches down for several feet, below which hangs the drapery – red lined with white satin, bordered with purple and gold – parted in the center and revealing a medallion landscape; a view of a water mill with mountains in the distance. The drapery falls loosely on a platform with steps approaching the curtain in perspective. The first part set scene is also worthy of mention as something novel. Unlike the ordinary chamber scenes used on such occasions, it is ornamented purple and gold, and displays considerable knowledge of architecture in its design. A large, square opening at the back, looking out on a tropical landscape, will afford an opportunity for the presentation of panoramic views, should it be desired.

Altogether, the theater, while not expensive, is attractive and elegant. Messrs. Tilley & Longhurst claim credit as architects; Mr. Daly Moore as contractor for the brickwork; Messrs. Cowdery & Cleveland as carpenters, and the United States Reflector Company, of New York, and Mr. E. Baggott of this city for gas-fitters. The furnaces are furnished by Messrs. Bangs Bros.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 468 – Noxon & Strauss

Part 468: Noxon & Strauss

Thomas C. Noxon established other scenic art firms before founding Noxon and Toomey. One was a business venture was Noxon & Strauss. I came across two articles during the four-year life of this company; one from 1868 and one from 1872. I have yet to identify Strauss beyond his last name and work as a scenic artist with Thomas Noxon and Charles Witham.

In 1868, Noxon & Strauss painted a setting for “Seven Sisters” at the Olympic Theatre. The New York Clipper reported that one scene for the show represented the Southern Hotel Rotunda, it was “gotten up in grand style and reflects credit on the scenic artists, Messrs. Noxon and Strauss” (25 April 1868, page 6).

In 1872, an “Inter Ocean article” that mentioned Noxon & Strauss verified that they were working in Chicago. Many scenic artists sought work in the city after the great fire of 1871. Theaters were among many of the new buildings proposed or rebuilt during this period. Hooley’s and Myers were two theaters mentioned the article, “Rebuilding and Real Estate” (Inter Ocean, Chicago, Illinois, 14 Sept. 1872, page 4). Noxon & Strauss painted the new scenery at Hooley’s, including the drop curtain. The drop curtain design depicted a scene from Heidelberg surrounded with painted drapery. The picturesque castle and town suggesting European origins was common for the time, as many compositions harkened to the old world. The Inter Ocean reported, “every convenience desirable for the production of the spectacular drama has been provided.”

Hooley’s Theatre was located at 124 W. Randolph Street, between Clark and LaSalle, and was dedicated on October 21, 1872. The building was four stories with lodge-rooms on the upper floors and a basement below the theater. The seating capacity was at a sizable 1,500. “The Chicago Tribune” reported, “They have reached the extreme height of perfection for stage mountings. The drawing-room scene, with its genuine marble mantels, real oil paintings, and rich furniture was a gem of scenic taste and effect. This is the direction in which Hooley’s is sure to become famous” (10 Dec. 1872, page 8).

I am going to post the article about Hooley’s in its entirety, as it provides a lot of information about this well-know venue, including that the fresco work was by another artist who I have examined – Peter M. Almini. Thomas G. Moses worked for Almini when he first ventured to Chicago and began his career as an artist in the mid-1870s.

“Hooley’s Opera House

This place is also approaching completion. Work on the interior has kept pace with the laying of the walls, so that now, although the rook has not been placed in position, the auditorium is far enough along to give a visitor a very correct idea of what it is to be. The front on Randolph Street is four stories (seventy-two feet) high, and built of very heavy Columbia stone, with elaborately carved trimmings. Two very large brackets over the first story will be ornamented with the figures of Comedy and Tragedy. Those who have seen the stonework in the yards of McKeon & Co., where it is being prepared, pronounce it as fine as any in the country. The hall leading to Randolph street to the theater is 20 wide and 70 feet in length, and it will be frescoed in oil by Almini and lighted by a number of large chandeliers. The hall opens into the west end of the auditorium, which is 65×68 feet. The extreme height of the interior, from the floor of the parquetted to the center of the dome, is 66 feet. The parquetted, parquetted circle, balcony and dress circles, are arranged in the form of an amphitheater. The parquetted and parquetted circle will be furnished with iron opera chairs of the Pike Opera House pattern – the same that was used in Hooley’s Clark Street Opera House. Above these, in the balcony circle, black walnut sofas will provide the seating accommodations. The chairs and sofas will be upholstered in first quality crimson plush. The walls and ceilings will be elaborately frescoed in oil by Almini.

From the center of the dome will hang a massive chandelier of 200 lights, of a new pattern, made expressly for Mr. Hooley by the United States Reflector Company of New York.

The proscenium boxes, four in number, will be ornamented in blue and gold, by Mr. Mela, the gentleman who did that’s service for Mr. McVicker.

The stage opening is thirty feet wide by thirty-four feet high. The depth of the stage is forty-five feet. Every convenience desirable for the production of the spectacular drama has been provided.

The drop curtain will fill the entire stage opening, and is being painted by Noxon & Strauss. The design will be the castle and town of Heidelberg, surrounded by drapery.

Four exits, two from the galleries and two from the parquetted circle, will empty the house rapidly as could be wished under any circumstances.

It is almost too early to pronounce upon the general effect of the theatre, but it is safe to say, considering the men who have the work in charge, that it will be no mean rival of the other places of amusement. Mr. Hawks is the architect, Mr. Graham the contractor for woodwork, and Messrs. Agnew & McDermott the builders.

Despite the present unpromising appearance of the place, Mr. Hooley seams perfectly at ease, and confidently assures visitors that “the gas will be turned on and the play commence promptly at 8 o’clock on the evening of the 9^th of October [1872].”

By 1878, Strauss was no longer working with Noxon. He was now painting with Charles Witham as they provided scenery for “Uncle Tom’s Cabin” at the Grand Opera House in San Francisco, California. The new season was inaugurated with a “reconstructed version” of “Uncle Tom’s Cabin.” “The Clipper” reported, “The scenic effects by Witham and Strauss were beautiful and realistic pictures.” (23 Feb. 1878, Vol. 25, page 383).

After this final mention, the scenic artist “Strauss” disappears from print.

To be continued…