Noxon & 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 465 – Patrick J. Toomey’s Electrical Pageant for the Wichita Carnival and Fall Festival, 1900

Part 465: Patrick J. Toomey’s Electrical Pageant for the Wichita Carnival and Fall Festival, 1900

In 1900, the “Street Railway Journal” reported, “The possibilities in the way of electrical decoration and illumination in street parades afforded by the overhead wires of a trolley road have been proved in several cities, particularly New Orleans, and views of the floats use din the Mardi Gras processions in that city last winter were published in the Street Railway Journal” (August 4, 1900, page 705). The article continued, “The unlimited current available for lighting and power to propel the flats makes it possible to secure finer spectacular effects than would otherwise be possible. This was shown during the special carnival, held June 28 in Milwaukee, in which trolley current was used for this purpose to a greater extent probably than ever before, and which was generally regarded as one of the most successful night pageants ever held on this continent.”

Milwaukee Carnival electric floats by Toomey, 1900

Toomey was involved with the electric floats in Milwaukee since 1898, when he received the news of Noxon’s death. By 1900, the Milwaukee Carnival consisted of twenty parade floats, placed on electric trucks, and lighted with 6000 lights of different colors. A variety of subjects, they were “presented without any aim at continuity of idea, but solely for their picturesque beauty and scope for fantastic display of form, color, and effulgent light.” By 1915, San Francisco’s electric parades would boast, “the first electrical pageant to be staged in the city independent of street car current;” the currents for the parade float lights were supplied by automobiles and storage batteries (San Francisco Chronicle, 5 Dec. 1915, page 61).

Toomey’s production of parade floats started in 1878 for the Veiled Prophets procession. His unique floats became a staple for Mardi Gras in New Orleans, the Veiled Prophets in St. Louis, and Carnivals across the country. Illuminated parades emerged appeared all over the country, including Milwaukee, Wisconsin; Springfield, Illinois; El Paso, Texas; and Wichita, Kansas. The Wichita Beacon provided detailed accounts of the electric pageant in that city, giving us great insight into the design and construction of Toomey’s floats.

Noxon & Toomey float design for Veiled Prophet parade

In 1900, the “Wichita Beacon” included an article concerning the City’s contracting P. J. Toomey to design and manufacture the electric pageant for the upcoming Wichita Carnival and Fall Festival (14 July 1900, page 5).

Here is the wonderful description of Toomey’s artistic contribution to the upcoming Wichita Carnival and Fall Festival in 1900; the event was scheduled for October 1-6.

“Contract Closed.

Electrical Pageant Will Be Given Carnival Week.

Attractions for Midway About Secured.

The Wichita Carnival and Fall Festival association yesterday closed a contract with P. J. Toomey of St. Louis for the production of his electrical pageant in this city on Friday night during street fair week. The floats, twelve in number, will be built at once by the Noxon-Toomey Scenic Art Company of St. Louis.

Sixty-five costumed characters will be required on the floats, besides 120 attendants on foot. The floats will be lighted by incandescent lamps, 150 being placed on each float. The floats will be mounted on street car trucks and run over the lines of the street railway company. The parade will be seen on Douglas and Main streets and will counter march to the starting place.

Outside of the regular scenic floats, four floats will be provided for bands. The parade will be brilliantly lighted by colored lights and the costuming of the attendants will be elaborate. The floats will be run about 200 feet apart.”

The carnival association also contracted three searchlights to be used to illuminate the streets at night, besides the other electrical decorations. A Carnival queen was be crowned with a very elaborate ceremony. “The Anthony Bulletin,” reported that colored calcium flashes would be thrown on the scenic effects and upon a chorus of one hundred female voices, dressed in white and arranged to show a red, white and blue scene” (The Anthony Bulletin, Anthony, Kansas, 6 Sept, 1900, page 4). The state of Kansas was billed as the “Italy of America,” and Wichita “the Peerless Princess of the Plains” (The Kingman Journal, Kingman, Kansas, 21 September 1900, page 5).

On October 5, 1900, the “Wichita Beacon” credited Toomey with designing and constructing the floats in St. Louis, working on them “with great care and painstaking for several months” (5 Oct. 1900, page 5). Their cost for the twelve floats and their transportation over the Missouri Pacific railroad was reported to be several thousand dollars. Each float, because of its size, occupied a special flat car. The article continued, “The street car company has arranged four cars to accommodate the various bands that will furnish the music for the occasion and these also will be trimmed and will be a feature of the grand pageant. The latter will form on Douglas, just east of the Rock Island track and at eight o’clock sharp will move west on Douglas to Main, north to Oak street and, returning over the same route, will end at the starting point.

The electricity will be supplied by the street car trolley wires. The various persons who will participate in the affair will be tastefully costumed to represent the characters they assume for the occasion in the great variety of subjects.”

Tomorrow, I will include an article that described each individual float designed by Toomey during 1900. There are amazing!

To be continued…

Tales from a Scenic Artist and Scholar. Part 463 – Patrick J. Toomey of Noxon & Toomey

Part 463: Patrick J. Toomey of Noxon & Toomey

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

In 1896, the St. Louis Post-Dispatch featured Patrick J. Toomey, including a brief biography and illustration. 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” (St. Louis Post-Dispatch, 2 April, 1896). The couple’s only child was named Noxon Toomey, who grew up to become a doctor.

Patrick J. Toomey’s wife, Mary Vogt, 1908

Noxon Toomey, the only child of Patrick J. Toomey and Mary Vogt. 1908.

I was curious about the venue where Toomey apprenticed himself to Noxon – Deagle’s Variety Theater. George Deagle’s Varieties Theater introduced musical comedy to St. Louis with “The Black Crook” in 1867 and briefly took the lead as one of St. Louis’ five theaters at that time. Various documents placed the location of the venue at Sixth Street near Locust. Little is known of Deagle’s Varieties Theater, and there are only a handful of advertisements for shows from 1876. Interestingly, an article from 1882 mentions that Deagle managed the only variety and spectacular house in pre-Civil War St Louis “then located where the present Grand Opera House now stands” (St. Louis Post-Dispatchm 20 March 1882, page 5). It appears that Deagle managed the St. Louis Opera House from 1865 until 1872, when he set his sites on another venue. In 1872 he rented the Olympic Theatre of St. Louis for a production of “Uncle Tom’s Cabin.”

The Buffalo Courier reported that George Deagle (1822-1908) was “the oldest theatrical manager in the country, who many years ago owned the Deagle Varieties Theater” (Buffalo Courier 14 Oct. 1900, page 17). Deagle later managed the People’s Theatre in Chicago too.

As an interesting side note, his granddaughter Ann Murdock took to the stage in 1908 at the age of 17, making her debut in “The Offenders.” She noted that her grandfather, George Deagle, was the manager of Deagles Varieties in St. Louis fifty years ago (New York Times 29 Oct. 1908, page 9), placing the establishment’s origin in the 1850s. Ann Murdock’s mother, Terese Deagle was also an actress, and one of the first leading women employed by Charles Frohman. Her father was a manager for many years at the American Theatrical Exchange (The St. Louis Post-Dispatch 12 June 1921, page 3). I became fascinated with this theatre family, but back to Toomey.

In 1922, the St. Louis Post-Dispatch placed Toomey’s birthdate in 1851 and reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14). Toomey was best known, however, 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. Toomey was famed as an “electrical float builder” known also for his work at the Mardi Gras parade in New Orleans and the Milwaukee Carnival (Wichita Daily Eagle, 13 July 1900, page 6). He did most of the scene painting for the old theatres 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.

To be continued…

Tales from a Scenic Artist and Scholar. Part 462- Thomas C. Noxon of Noxon & Toomey

Part 462: Thomas C. Noxon of Noxon & Toomey

The founding dates for Noxon and Toomey seem to vary when one looks at a variety of printed material and public records. Some sources place the firm starting in 1867, while others place the establishment around 1869. The firm lasted until Noxon’s passing in 1898.

Thomas C. Noxon was an extremely well-known scenic artist during the nineteenth century. Born in Montreal, Canada, during 1829, he came to the United States as a child. Initially living in Zanesville and in Millerburg, Ohio, Noxon attended public schools. 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.

Noxon was married twice. He married his first wife, Ann Hazzard, on April 14, 1853 when he was twenty-four years old. The couple had three daughters, but only two were living at the time of his death, Mrs. Samuel Wilson and Mrs. Harry Belden, both of whom acted on the stage. The daughter that predeceased Noxon, Libbie, was also an actress, performing as Blosson in Ben Maginely’s “Square Man” during 1882. She passed away in 1894 after a long illness (St. Louis Post-Dispatch, 27 May 1894, page 31). A “Miss Noxon, the daughter of Thomas C. Noxon,” also performed with the Olympic stock company and reported to be married to the comedian Harry Harwood in 1883; this may have been Libbie (St. Louis Post-Dispatch, 1 Sept. 1883, page 8). In 1885, Noxon married for a second time to a “Mrs. Selvers.”

There are a few interesting tidbits that I uncovered about this somewhat evasive artist. In 1880, Noxon was working with the stage machinist Mr. S. I. Gates to create the scenery for “Cymbeline” at the Olympic (St. Louis Post-Dispatch, 5 Jan. 1880, page 8). In 1882, he was mentioned as the scenic artist of the Grand Opera House. In 1884, Noxon was credited as being both the scenic artist for the Grand Opera House and Olympic Theaters in St. Louis (St. Louis Post-Dispatch, 21 Jan. 1884, page 8).

*The Grand Opera House in St. Louis, Missouri, where Thomas C. Noxon worked as a scenic artist.*

*The Olympic Theatre in St. Louis, Missouri, where Thomas C. Noxon worked as a scenic artist.*

Later, Noxon’s business partner P. J. Toomey would remain at the Olympic, using the studio room for Toomey & Volland. This space was destroyed by fire in 1922. 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).

Noxon worked as both a scenic artist and a decorative painter, heading four theatrical painting firms during his life: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey.

My research suggests that Noxon joined forces with Patrick Joseph Toomey to establish the Noxon & Toomey Painting Studio of St. Louis between 1867 and 1869. Noxon was the senior partner and is reported to have managed the studio from its inception until his illness in 1896. This is where history gets a bit fuzzy around the edges. The business remained opened after Albert left Noxon & Toomey in 1891, but Toomey also established the Knox & Toomey Scenic Art Company at that same time. Knox & Toomey also specialized in float construction and electric pageant wagons, the same kind that Noxon & Toomey specialized in since 1878. Their creations dominated the pageant market all over the country.

Like many men of his generation, Noxon joined a variety of social clubs and fraternal organization. In addition to being a prominent member of several Masonic orders, he was also a charter member for the Benevolent and Protected Order of Elks. The Elks were an American fraternal order founded during 1868 in New York City. It was initially a social club for minstrel show performers, called the “Jolly Corks.” Some historical records suggest that the group was formed as a private club to elude laws governing the restrictive hours for public taverns. After a member’s death that left his wife and children without funds, the organization took on a more charitable mission.

*It’s sad when all that remains of this remarkable scenic artist is a tombstone. I am still searching for images of painted settings produced by Thomas C. Noxon.*

Noxon passed away from nephritis, on June 20, 1898, after a long illness. His remains are interred in “Elks Rest,” the Elks section of Bellfontaine Cemetery in St. Louis (block 70, lot 1043). At the time of his death, Noxon was living at 2010 Rutger Street. The St. Louis Post-Dispatch reported, “Mr. Noxon for years had been considered one of the foremost scenic painters in the country and his work can be seen in almost every prominent theater in the United States” (21 June 1898, page 7). When he passed away, Toomey was in Wisconsin, superintending Milwaukee Carnival Floats. The “Weekly Wisconsin” reported, “Mr. Toomey received a telegram this morning announcing his partner’s death, and at once arranged to leave for St. Louis to attend the funeral. ‘Mr. Noxon was the greatest scenic artist this country has produced,’ said Mr. Toomey. ‘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. He leaves a wife and two daughters, one of whom is on the stage. Mr. Noxon had been ill for a year and a half, and had been confined to his bed for the last six months” (The Weekly Wisconsin, 25 June 1898, page 4).

Toomey’s only child was named Noxon Toomey.

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…

Tales from a Scenic Artist and Scholar. Part 89 – The St. Louis Scottish Rite, Noxon & Toomey

The St. Louis Scottish Rite scenery collection provided a wonderful context for the Fort Scott acquisition, both then and now. They both followed the same pattern of growth during the early twentieth century. Sosman & Landis Studio created the 1904 scenery for Fort Scott, Kansas. Similarly, Toomey & Volland created the 1902 scenery for St. Louis, Missouri. Artists from these same studios replaced the original collections with much larger versions in 1924.

It is interesting to examine the Toomey & Volland Studio, as it evolved from an earlier scenic art partnership called Noxon & Toomey.

The scenic studio of Noxon & Toomey appeared in St. Louis during 1869 – almost a decade before Sosman & Landis in Chicago. Founded by Thomas C. Noxon and Patrick Joseph Toomey, the studio’s name changed from Noxon & Toomey to Toomey & Volland by 1902. This was the same year that the Valley of St. Louis installed a new scenery collection in their Scottish Rite Cathedral. The “Volland” part of the company was Hugo R. Volland, a 32nd degree Mason who was one of two stage managers for degree productions at the Valley of St. Louis.

A page from the 1902 St. Louis Scottish Rite Reunion Program noting Volland’s participation as stage manager. Collection of Waszut-Barrett.

St. Louis’ first official Scottish Rite building was a residential building purchased during June of 1886. As membership dramatically increased from 86 in 1890 to 306 in 1900, the Valley of St. Louis began to consider constructing a stage to produce degree productions. They selected the Second Presbyterian Church and extensively converted this structure between June 1900 and January 1902. Enlarging the church’s original seating capacity by fifty percent, the space was retrofitted with an elevated stage containing an elaborate set of scenery from Toomey & Volland Studios. The 1902 reunion program photographs depicted numerous degree settings and credits Toomey & Volland Scenic Co. for the work.

The cover of the St. Louis Scottish Rite Reunion Program. Collection of Waszut-Barrett.

Depiction of the 21st Degree in the 1902 St. Louis Scottish Rite Souvenir Reunion Program. Collection of Waszut-Barrett.

Depiction of the 16th Degree in the 1902 St. Louis Scottish Rite Souvenir Reunion Program. Collection of Waszut-Barrett.

Depiction of the 15th Degree in the 1902 St. Louis Scottish Rite Souvenir Reunion Program. Collection of Waszut-Barrett.

An insert in the souvenir program notes the Toomey & Volland contributions:

“All scenery, stage properties and lighting effects used in the Scottish Rite Cathedral at St. Louis, were specially designed for the purpose and constructed at our Studio No. 2312-14 16 Market Street St. Louis, Missouri. There are 40 complete settings, consisting of 90 drops, innumerable set pieces, etc., all of which, we think, we can truthfully say, are historically correct, and for beauty, originality and richness of color are not surpassed in this country.

Insert in 1902 Souvenir Reunion Program for the St. Louis Scottish Rite. Collection of Waszut-Barrett.

I was able to identify some of this original 1902 scenery during the March 2017 evaluation. The Valley of St. Louis had kept portions of the original collection with the intention of future expansion!

Masonic affiliation between the scenic studio and the Valley of St. Louis originated with the firm’s first president and senior partner, Thomas C. Noxon. Noxon was not only a Scottish Rite Mason, but also a charter member for the Benevolent and Protected Order of Elks. He moved to St. Louis in 1845 and worked as both a scenic artist and a decorative painter. By 1869, he joined forces with Patrick Joseph Toomey to establish the Noxon & Toomey Painting Studio. Noxon managed the scenic studio from approximately 1869 until 1896. Although his partner Toomey had no affiliation with Freemasonry, Noxon’s successor, Hugo R. Volland, was also a Mason.

Volland, the studio’s third president, was integral in supporting degree productions at the Valley of St. Louis. Migrating from Grossbremback, Germany, he initially worked for his brother Otto, but later found work with Noxon & Toomey as the company’s secretary. Rapidly rising through the company’s ranks, it was his Masonic affiliation as a Scottish Rite stage manager for degree productions that secured the contract for the new Cathedral’s stage scenery. The scenic studio’s relationship with the Scottish Rite in St. Louis flourished as Volland eventually supervised all degree productions. To honor Volland’s theatrical contributions, the 1922 class was named the “Volland Class.”

Two years later in 1924, Volland Studio produced the 90’ wide scenery for the new stage, all constructed with wooden battens and spaced 2” apart on center in an elaborate counterweight rigging system.

To be continued…