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Tales from a Scenic Artist and Scholar. Part 634 – Revisiting Brown’s Special System with William Knox Brown

Part 634: Revisiting Brown’s Special System with William Knox Brown

Scenic studios went far beyond painting drops. Scenic artists, stage carpenters, and stage mechanics were visionaries; those who combined painted illusion, lighting innovations, and new stage technology on a daily basis. They were at the forefront of technological innovation, integrating old trades and new technology, often registering their designs with the patent office.

In 1909, Brown’s Special System system was the Sosman & Landis’ “standard” when installing scenery and stage machinery in Scottish Rite theaters. For the past two days, I have examined possible candidates who may have been involved in the conception phase, design, and installation of Brown’s special system during the first decade of the twentieth century. I am now compelled to look at a few close connections in the Midwest – other stage carpenters, stage mechanics and scenic artists who may have been involved with this new counterweight system. I realize that it will be impossible to pinpoint, but that contributes to the enjoyment during this particular quest.

During the 1890s, scenic studio employees drifted from one studio to another. It was an intricate network propelled by an ever-increasing demand for scenic illusion and stage effects. In fact, it greatly benefitted studio owners to not only know their competition, but also maintain close ties to their competitors; they may need to draw upon another’s labor pool if a large project came along. During this period massive projects would appear, requiring a legion of theatrical suppliers and manufacturers to complete the projects on time. Projects requiring complicated stage machinery and painted illusion ranged from huge outdoor pyrotechnic events and grand circus spectacles to word fair amusements and electrical parades. There was a shared material culture between the general public and multiple entertainment industries.

Minnesota’s Twin Cities (Minneapolis and St. Paul) were a short railway ride away from Chicago, the central shipping hub. Sosman & Landis completed many projects in Minnesota and the degrees of separation in the theater world were far less than the presently allotted six. It would be an anomaly to think that the movers and shakers of the theater world in Chicago were not in constant contact with those in the Twin Cities. There is one well-known stage mechanic and stage carpenter, William Knox Brown, who traversed the country throughout the late-nineteenth century. In 1888, the “Saint Paul Globe” reported, “W. K. Brown of New York, the stage carpenter, deserves credit for the clever mechanical effects to be seen at the People’s [Theatre]. He is enthusiastic, a skilled mechanic and an artist in his line” (Saint Paul Globe, 19 Feb 1888, page 10).

William Knox Brown, the stage mechanic, pictured in the “St. Paul Globe,” 19 Feb 1888, page 10

William Knox Brown engineered brilliant stage effects, and was a well-known stage carpenter and stage mechanic who traversed the country. Brown was an up and coming inventor during the late nineteenth century.

An article written by Geo. W. Welty, titled, “Experts Behind the Scenes,” included a brief synopsis of Brown’s career as a stage carpenter (The Star Tribune, 13 January 1901). The article noted that Brown was a “mechanic of experience” and “one of the best stage carpenters in the country” with a “thorough and comprehensive knowledge of the art of stage mechanism.” It then went on to describe his experience since first arriving in Minneapolis as a stage carpenter in 1882. Beginning in 1883, he was employed at the Grand Opera House in St. Paul. By 1887, he was connected with the People’s Theatre when it opened. He then took charge of the stage in Burd’s Opera house, in Davenport Iowa. From Iowa, he moved to the Harris theatre in Louisville, Kentucky,and by 1890 was connected with the Henrietta theater in Columbus Ohio.

By 1901, Brown had acquired the reputation for being one of the best stage carpenters in the country, being called “a mechanic of excellence” (Star Tribune, 13 Jan 1901, page 27).

Brown was also credited with “that rare quality of being able to control men without trouble, and while a strict tactician, he is yet extremely popular with all his employees.” These qualities landed Brown a position as master mechanic with the Hanlon Bros. spectacle “Superba.” Brown not only directed the staging of the production on tour, but also was engaged to direct the building, repairing and testing of new effects and “featured stage mechanisms” at their private stage and workshop in Cohasset, Massachusetts. The Star Tribune reported, “Mr. Brown, during his years of travel, with his splendid powers of grasping facts, has been able to acquire a thorough and comprehensive knowledge of the art of stage mechanism. This knowledge he has put to good use at the Bijou, for the stage of that theater today is conceded to be one of the most complete in the country; traveling managers sending many compliments for the excellent manner in which it is conducted” (Star Tribune, 13 Jan 1901, page 27).

William Knox Brown, the stage mechanic, pictured in the “Star Tribune,” (Minneapolis, MN) 13 Jan 1901, page 27

In 1894, the Hanlon Brothers lost $100,000 worth of “Superba” scenery during a fire at the “Globe” in Boston. It was the third time that the Company had been “burned out,” in other words losing their scenery, to fire in eighteen months (Chicago Tribune, 2 Jan 1894, page 1). If I were the stage mechanic, this may be my sign to leave the touring world and start my own studio. That year, Brown returned to Minneapolis to take charge of the Metropolitan stage in 1894 when it was opened by W. F. Sterling. Consider that there is a “Brown” who is testing new stage effects, developing machinery, and applying his know-how to the theater that he is working at by 1894. At this same time the Brown special system is likely in the early stages of conception.

By 1895, William Knox Brown enters a partnership with Theodore Hays and William P. Davis, starting the Twin City Scenic Studio. The three initially work out of the Bijou Opera House in Minneapolis and later construct their own studio on Nicollet Avenue in Minneapolis. Each partner had a specific role: Theodore Hays was the business manager, Brown was in charge of the stage mechanics, and Davis, who had previously worked at the Chicago Auditorium, led the painting.

By 1904, however, Brown is heralded for a new invention that pertains to rigging. (Star Tribune, 7 Jan 1904, page 7). The fire at the Iroquois theater prompted many cities and theater managers to contemplate fire safety in their theaters. The “Star and Tribune” quoted then manager of the Bijou Theodore L. Hays. Hays stated, “The Chicago catastrophe has emphasized the importance of asbestos curtains and the Girard Avenue theatre fire in Philadelphia, where an asbestos curtain was lowered in proper time, demonstrated their worth by keeping the fire from the auditorium proper fully fifteen minutes, ample time for any audience to be dismissed, evening in a panic… Appreciating the necessity of its quick operation in an emergency, W. K. Brown our stage carpenter, has already perfected and put in practical operation an arrangement which permits the lowering or raising of the asbestos curtain from either side of the main stage floor, as well as from the fly gallery.” Later Hays added, “We want safety and not ingenious inventions that nobody understands but the inventor. Safety in this matter lies in the things that ones fingers out of habit would operate automatically no matter how excited the brain might be.”

I re-read this section several times seeing what I had known all along to be the whole point of Brown’s special system. It was easily operated and relatively safe; no locks, sand bags or belaying pins. Whoever pulled the line was in complete control of the speed, it could go as fast, or slow, as needed. Whoever designed the counterweight system that is still used by many Masonic stage hands every year realized that “Safety in this matter lies in the things that one’s fingers out of habit would operate automatically no matter how excited the brain might be.”

Think of the cowboys and bankers waiting off stage before a scene change at a Scottish Rite Reunion – first-time stagehands. Their brains were excited, but all they had to do was pull a rope.

The earliest functioning example of Brown’s special system still n the original venue is located in Duluth, Minnesota. The Sosman & Landis installation of the system is dated 1904. In 1905, the “Minneapolis Journal,” advertised, “general stage apparatus and appliances designed, manufactured and modeled by the Twin City Scenic Studio, leading scenic contractors of the northwest” (Minneapolis Journal, 25 Feb 1905, page 18). Brown was listed as the stage mechanic for the company in the ad. That meant W. K. Brown was designing special stage stage apparatus. At the time, stage apparatus was the word designating rigging systems. So W. K. Brown was designing special systems for the stage, like Brown’s special system.

Advertisement for the Twin City Scenic Studio from the “Minneapolis Journal,” 25 Feb 1905, page 18

To be continued…

Tales from a Scenic Artist and Scholar. Part 630 – Bestor G. Brown and the E. A. Armstrong Manufacturing Co.

Part 630: Bestor G. Brown and E. A. Armstrong Manufacturing Co.

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia. Today we look at the Kansas and Bestor G. Brown (1861-1917) before looking at the Scottish Rite installation in Kansas City, Kansas, during 1909.

Starting in the 1890s, Kansas became a hot bed of Scottish Rite activity. Theatre construction, new degree productions, and Masonic celebrations drew men together from across the region. It was during this time that both fraternal and business alliances were formed. Bestor G. Brown became the central hub on a spinning wheel of fraternal activity. As I have discussed in recent posts, Brown, would become the future western sales representative of the M. C. Lilley & Co., with his regional offices in Kansas City, Missouri. Brown joined Siloam Lodge No. 225, on March 11, 1884, where he served as Master in 1887 and 1888. Brown was also involved with other Masonic orders, such as the Ancient and Accepted Scottish Rite of Freemasonry, York Rite, Ancient Arabic Order of the Nobles of the Mystic Shrine, and Order of the Eastern Star. In fact, Brown’s outstanding fraternal service gained him title to Kansas Lodge No. 433 A. F. & A. M. Lodge on March 1, 1923. It is now the Bestor G. Brown Lodge No. 433. Brown was involved with other non-Masonic fraternities, such as the Independent Order of Odd Fellows, the Knights of Pythias and the Benevolent and Protected Order of Elks. I have to ask myself where the guy found enough time to do it all as he traveled so much.

Bestor G. Brown pictured in the American Tyler, 1908, page 471.

Brown became a traveling salesman, peddling supplies for E. A. Armstrong during the 1890s. This was before Brown became the western sales manager for M. C. Lilley & Co. in 1904. From 1897 until 1902, Brown had special charge of the Armstrong’s Masonic department and secured ALL of the consistory contracts except one. That one was in Columbus, Ohio, however, by 1909, he would secure that Consistory contract too. In the 1902 publication “Masonic Voice-Review,” an article titled “Original and Reliable” commended the quality of products manufactured by the E. A. Armstrong Manufacturing Company of Chicago and Brown’s contribution. The article noted, “Excepting the Consistory at Columbus, Ohio, they have furnished the equipment and paraphernalia for every Consistory in the United States that has been in the market for an outfit in the past five years… The Consistories that have been equipped within the period mentioned by the company are located at Indianapolis, Ind.; Little Rock, Ark.; Galveston, Tex.; Kansas City, Miss.; Wichita, Kan.; Guthrie, Okla.; Fargo, N.D.; and St. Louis, Mo.” The article continued, “The Eminent Sir Bestor G. Brown has special charge of the Masonic Department, and his intelligence and energetic methods coupled with a thorough knowledge of the requirements of the Craft has much to do with the notable success of this branch of the business.”

This is a big deal, as it suggested that E. A. Armstrong captured the Scottish Rite theater business of the entire Southern Jurisdiction after Pike’s passing; remember, Pike, was not a supporter of stage degree productions and he was in charge of the Southern Jurisdiction until his death in 1891.

Brown was there when the Southern Jurisdictions first designed and installed their new scenery. He would be there again when these Masonic venues grew and needed new scenery a decade later. The only difference was that Brown would later be representing M. C. Lilley & Co. Consider this…the Valley’s were repurchasing scenery thru Brown. This did not necessarily mean that they were going with another company; they were going with the same man who just happened to now work for a new company. Brown knew what they wanted and what they already had. In other words, the Consistories believed he would take care of them as a fellow 32nd degree Scottish Rite Mason.

The April 15, 1908, issue of “The American Tyler” would credit Brown as “the only Masonic stage manager in the country.” The article would further explain, “This is because he has a national reputation among scenic artists and builders of stage appliances, and because he created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees. More value is probably attached to his opinion in such matters than to that of any other man in the country, and he is almost invariably consulted in regard to the construction of stages for the work of the Scottish Rite, everywhere throughout the United States.”

Each Scottish Rite Valley’s loyalty was to Brown and not necessarily the company he represented – M. C. Lilley. The scenic studio of Sosman & Landis was closely linked to Brown and his business. Brown and Sosman were both Scottish Rite Masons. After Sosman died in 1915 and Brown died in 1917, the Masonic connection dried up and much business went to Toomey & Volland who had been steadily building up their Masonic repertoire. And guess what? Volland was a Scottish Rite Mason and in charge of the stage direction at the Scottish Rite in St. Louis; the same as Brown who had been in charge of the stage direction in Wichita, Kansas. Volland was the “shiny new thing” on the Masonic playground. Volland got his Masonic scenery start in 1902, when Toomey & Volland were subcontracted by E. A. Armstrong to deliver $6,200 worth of scenery and stage equipment to the St. Louis Consistory during May and Brown was the one to negotiate the contract.

To be continued…

Tales from a Scenic Artist and Scholar. Part 628 – The San Francisco Scottish Rite, 1909

Part 628: The San Francisco Scottish Rite, 1909

In 1909, Thomas G. Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” These were only three of six Scottish Rite installations supervised by Moses in 1909 while he was working at Sosman & Landis. Others included Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia.

The San Francisco Scottish Rite built in 1909. It is now called the Regency.

The first San Francisco Scottish Rite outfitted with scenery by Sosman & Landis was destroyed during the fire after the San Francisco earthquake. The original 1906 collection was contracted with M. C. Lilley & Co., and subsequently subcontracted to the Sosman & Landis scenic studio. In 1906, the western sales representative for M. C. Lilley & Co., Bestor G. Brown, was in town attending a meeting at the San Francisco Masonic Temple when the earthquake struck. During the first tremors early in the morning of April 18, 1906, Brown was sleeping at the Union League Club. The San Francisco earthquake triggered several fires that burned the city for the next two days. Brown’s eyewitness account of his experience was first published in the “Topeka Daily Capital” (April 25, 1906, page 7).

The article reported, ““The Grand Chapter of Masons met in the forenoon at the Masonic temple and were holding their meeting when the military came in and said it was time to move as they were going to dynamite the Palace hotel.” Brown elaborated, “I went out to the street and saw the fire creeping up from two sides. I saw it creep up to the back door off the meat market on Market Street and the minute it touched the rear of the building it seemed to sweep through and bulge out into the street in front. About the time I took to the woods, I started for the waterfront and got there in about an hour and a half.”

Cornerstone laying ceremony took place after the building was constructed, on October 12, 1909. From “The San Francisco Call,” Oct. 13, 1909

The cornerstone for the second San Francisco Scottish Rite Temple was laid on October 12, 1909, by the Grand Master of California, Oscar Lawler. The “San Francisco Call,” reported “Cornerstone of Scottish Rite Cathedral Lowered Into Place Before Big Throng.” The trowel was a “handsome beaten silver blade of which the insignia f the order was an appropriate inscription” and presented to Grand Master Lawler by W. P. Filmer in behalf of the Scottish Rite Temple Association. Lawler was retiring and being succeeded by W. Frank Pierce. Remember that Pierce was also the Inspector General of California and the Grand Grand Chancellor of the Scottish Rite instrumental in advocating for the new House of the Temple. As part of the Finanace Committee, Pierce introduced the 1904 resolution that paid each SGIG and Deputy $2 per each incoming 32^nd degree Mason for each respective jurisdiction

The “San Francisco Call” article continued, “The dedication of the building itself was as a house erected to God, and destined to stand as a symbol of truth, intelligence, honesty and integrity in the pursuit of the highest ideals of mankind.” The time capsule placed under the cornerstone included a roster of the members of the San Francisco bodies of the Ancient and Accepted Scottish Rite of Freemasonry, a copy of the Trestle Board for October, 1909, the bulletin of the San Francisco lodges of perfection for August and September, 1909, the latest bulletins of the chapter, council, and consistory, the bulletin of the reception to Sovereign Grand Commander James Daniel Richardson, the notice of laying of the cornerstone, samples of the stationary used by the San Francisco bodies of Scottish Rite, the San Francisco morning daily papers of yesterday, the proceedings of the grand lodge of California for 1908, coins minted in 1909, a copy of the New Age for September of this year and business cards of the architects and contractors in charge of the construction of the building.”

Located on the northeast corner of Sutter Street and Van Ness avenue, the block was cemented in the foundation wall of the new building. The final cost of this four-story building was $330,000 and was home to the San Francisco Bodies No. 1, Ancient and Accepted Scottish Rite. As part of the ceremonies on October 12, 1909, the “San Francisco Call” noted that “many members of the grand body attended a meeting in King Solomon’s Hall, where Berkeley lodge exemplified the work in the apprentice, or first degree.”

The stage was outfitted with scenery by Sosman & Landis, and Moses supervised the production of the backdrops for the West Coat. These drops area still used on the same stage, but the building is now known as the Regency Center. It is no longer owned by the Fraternity and odd to see the Masonic settings as thematic backings for a variety of public events, including cabaret shows. The current stewards of the building now advertise the edifice as a unique venue with three separate event spaces. The Scottish Rite theater is now marketed as “The Lodge.” Generations of San Franciscans have now performed on the stage, worked the fly lines, or applauded from the audience, all marveling at the painting from years ago. Moses’ scenery, especially his forest scene, continues to thrill both spectators and performers.

Landscape scene by Thomas G. Moses (1856-1909) in the 1909 Scottish Rite building, now called the Regency

The Lodge of the Regency, once the 1909 San Francisco Scottish Rite

Scenery at the 1909 Scottish Rite building used for a cabaret show

In 1964 the San Francisco Scottish Rite moved to new building, new scenery constructed by the Western Scenic Studio, of Oakland, California. The backdrops were designed and painted by member Gus R. Schneider, an MGM artist. The third Scottish Rite constructed for the San Francisco Bodies is a sign of the times when it was built. I have included some images that from their Facebook page that give a sense of the degree work now being performed in the space with Schneider’s scenery.

Scenery at the San Francisco Scottish Rite

Scenery at the current San Francisco Scottish Rite

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 593 – The Wheeling Scottish Rite, 1908

Part 593: The Wheeling Scottish Rite, 1908

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.”

For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.

*Scottish Rite Cathedral in Wheeling, West Virginia, that had scenery produced by Sosman & Landis in 1908. This building was destroyed by fire in 1915.*

The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).

*The auditorium of the Wheeling Scottish Rite, pictured after a devastating fire during 1915.*

Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:

“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)

The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.

*Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The 1916 auditorium. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The bowling alley. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Scottish Rite room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Ladies Room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Blue Lodge room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.

The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”

Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.

*The 1916 drop curtain at the Wheeling Scottish Rite.*

*Yankton Scottish Rite drop curtain delivered in 1910 by Sosman & Landis is similar to the one delivered by Toomey & Volland to the Scottish Rite in Wheeling, West Virginia, during 1908.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 583 – Background Painters, Luminous-Lint

Part 583: Background Painters, Luminous-Lint

Here is a little sidestep from the life and times of Thomas G. Moses. Occasionally while looking for information online, I discover a site, that takes me by surprise. Here was one that I uncovered while looking for information about advertising curtains by the Kansas City Scenic Co.

Image from Luminous-lint.http://www.luminous-lint.com/__phv_app.php?/f/_studios_backgrounds_painters_01/

It was an advertisement for the Kansas City Scenic Co. that drew me into a series of photographs depicting scenic artists from the mid-nineteenth to mid-twentieth century. The images were part of an online collection called Luminous-Lint and the artists were categorized as “Painters of backgrounds.”

If you are unfamiliar with the Luminous-Lint, this is one site to bookmark. It contains 85,989 photographs from 3,278 different collections around the world. The creators mission is to create “detailed and well structured histories of photography.” The site includes “1,031 distinct, but interlinked, histories of photography that are evolving on a regular basis.” The creators report that their site is used worldwide by curators, educators, photo historians, collectors and photographers to better understand the many histories of photography.

My interest in the contents has little to do with the photographers or history of photography; I am interested in the subject matter. My interest lies with not only the scenic artists with paint palettes, buckets, and brushes, by also the performers and tradesmen.

David Knights-Whittome on a ladder. Image from Luminous-lint.http://www.luminous-lint.com/__phv_app.php?/f/_studios_backgrounds_painters_01/

One of the collections features David Knights-Whittome. Here is the information about the collection on Luminous-Lint: “About 1978 a collection of around 11,000 glass plate negatives was found in the basement of Linwood Strong’s shop (Optician) on the High Street in Sutton, a town in South London. The plates had been stored there in deteriorating conditions for over 60 years, they were saved and eventually became a part of Sutton Archives, South London, England. They were stored but not made available until 2014 when a preservation and digitization project commenced. The photographer was little-known David Knights-Whittome and the portraits provide a time capsule of Late Victorian and early Edwardian England. The collection included images of studio backgrounds, a photograph of David Knights-Whittome standing on a step ladder and posed as if he was painting a backdrop, and a notebook with a sketch for a background that he had drawn as a teenager in the 1890s.”

Many of the photographers also worked as scenic artists, creating painted backings of various sizes and subjects.

Here is a link to the “background artists” category: http://www.luminous-lint.com/__phv_app.php?/f/_studios_backgrounds_painters_01/ I really recommend taking a peak at this site.

To be continued…

Tales from a Scenic Artist and Scholar. Part 582 – Advertising Curtains and the Kansas City Scenic Company

Part 582: Advertising Curtains and the Kansas City Scenic Company

I came across an interesting article when searching for information about advertising curtains during the early twentieth century. It presented some of the financial logistics and revenue generated by an ad spaces on a drop. The article concerned scenery for the new opera house in Perry, Iowa, located at 1314 Second St.

Fred R. Megan, representing the Kansas City Scenic Co., was negotiating the contract during August 1903. Kansas City Scenic was founded by former Sosman & Landis scenic artist, L. L. Graham.

Private collection of Christopher Steiner at Luminous-Link.

Here is the article published in the “Perry Daily” on 26 Aug 1903:

“Mr. F. R. Megan, of Kansas City, was in Perry this week representing the Kansas City Scenic Co., which concern will paint the scenery for the new opera house. The directors selected the richest design of drop curtain that he had to offer and it is indeed a beauty. They also selected about eleven hundred dollars’ worth of scenery all told, including interiors, woods, garden, landscape, street scenes, etc. When the choice of the scenery was made it was found that there was a deficit of four hundred dollars in the appropriation that had been set apart for the item of scenery, and in order to procure the full amount that had been chosen it was decided to put on an ad curtain and sell limited number of ads. The main house curtain will be raised when the orchestra begins its overture and display this curtain. In seven hours time $375 worth of space on the ad curtain was sold Monday. $25 worth have been sold since and there are yet three spaces which an be taken by any parties who have not been solicited. It is probable that there will be no space for sale in a day or two” (The Perry Daily, 26 Aug 1903, page 3).

The Perry Opera House stage stage included a proscenium that measured 31 feet wide by 26 ½ feet high. The height to the rigging loft was 47 feet, and the height to the fly gallery was 23 ½ feet. There were no grooves to accommodate painted wings, just fly scenery. It was a sizable space, standard in many aspects for the time. Although there is not measurement provided for the ad curtain, it likely measured approximately 32 feet wide by 24 feet high. The number of ad spaces possibly ranged from 10 to 14 surrounding a central landscape.

The company providing scenery for the venue was Kansas City Scenic Co., a studio that I have explored in “Travel of a Scenic Artists and Scholar” posts. Let me briefly put Kansas City Scenic Company and Fred R. Megan in relation to Thomas G. Moses and Sosman & Landis studio.

Kansas City Scenic Co. was a competitor of Sosman and Landis, formed by one of their studio artists – Lemuel L Graham. It was in 1882, Moses would partner with Graham, after leaving Sosman & Landis for the first time. After Graham left Chicago, he would later found the Kansas City Scenic Co. The company grew to be a prominent studio and major player in the midwestern and western regions of the country. Many well-known scenic artists would later become associated with Kansas City Scenic Co, such as scenic artists and salesman Fred R. Megan.

The earliest mention of Megan’s association with the Kansas City Scenic Company is in 1901. Earlier, Megan had toured with the Barrett & Barrett Company (The Leonardville Monitor, Leonardville, Kansas, 2 Dec. 1897, page 8). By the early twentieth century, Megan was on staff at the Kansa City Scenic Co. studio, negotiating contracts across the country.

Later, Moses would contact Megan during 1923; the two would work together, purchasing the Sosman & Landis name after Hoyland and Lemle purchased the company contents at that same time. While they were negotiating the purchase of the Sosman & Landis name, Moses and Megan continued to work under their own names – Moses & Megan. They needed to wait for Sosman & Landis to liquidate, get their own charter, and then work as “Sosman & Landis.” During this time, they leased the old Fabric Studio in Chicago (that was an interesting tidbit for me). By 1924, Megan was on the road most of the time, with Moses making models in his studio.This is how Sosman & Lanids had most successfully operated – with Landis on the road and Sosman in the studio. The two would close the contract for the Salt Lake Consistory during 1926. The two would also provide the scenery for the Oakland Scottish Rite in 1927. Moses and Megan would continued working together until 1931.

The was a special section in the Oakland Tribune concerning the new Scottish Rite (12 Dec 1927, page 17). Moses and Megan placed an advertisement in the center of the section.

To be continued…

Tales from a Scenic Artist and Scholar. Part 581 – Deeds & Funk, the Ad Men

Part 581: Deeds & Funk, the Ad Men

A number of studios specializing advertising curtains appeared during the first decade of the twentieth century. Many were short-lived, such as Deeds & Funk. Advertisements for available spaces were placed Deeds & Funk placed in local newspapers, noting various reasons to purchase an ad space. One included, “Because the rates are lower in proportion than any other advertising. It reaches more people than any other ad you can place.”

Deeds & Funk advertisement from the “Morning Register (Eugene, Lane, Oregon, 30 June, 1904, page 2).

In 1904, the “Morning Register” included an interesting announcement by “Deeds & Funk, the Ad Men” (Eugene, Oregon, 3 July 1904, page 2):

“Two Classes of people who do not attend the theater. Those who do not believe in such a place of entertainment, and those who are physically incapacitated, aside from these two classes, upon some one occasion or another during the eighty times or more every year that this local opera house is used, nearly every man, woman, and child in this city, and surrounding community attend. At a cost of not exceeding 25 cents, nor less than 12 ½ cents each night, you can put an ad where they can not help but read it, namely on a new scenic ad curtain in a space of no less than eight and up to twenty square feet.

It is a straight, honest, publicity, recognized and used as such by leading merchants throughout the world. The curtains contain over six hundred square feet, and as two-fifths of it is devoted to scenery and draperies, it is a work of art as well as a splendid advertising medium.

There are about twenty-five spaces and each space is separate and by itself.

Ten of the leading business firms of Eugene have already engaged spaces, and their ads are now being artistically arranged and painted in their separated spaces.

Think it over. We’ll call on you if you don’t call on us.

It’s Good and it Catches the eye.

That’s the way it strikes us.

How does it strike you?

(signed) Deeds & Funk, the Ad Men”

Deeds & Funk of Los Angeles and Sacramento owned and operated over 40 advertising curtains in California and Oregon during 1904 (Rosenburg Review, 16 June 1904, page 2). In 1904, they created an advertising curtain for the theater in Eugene, Oregon. The Eugene “Morning Register” elaborated, “they have on their list 50 curtains they have designed between Eugene and their home city, the last one completed at Rosenburg” (Morning Register, Eugene, Oregon, 29 June 1904, page 8). The article’s heading noted that the new Eugene Theatre was “ready of the cards of Eugene business firms,” explaining “The curtain is now ready for the advertisements of representative business firms at a reasonable figure, putting the finishing to a drop curtain the equal for beauty of any found in the state.”

Deeds & Funk advertisement from the “Rosenburg Review” (Rosenburg, Oregon, 16 June 1904, page 2)

To be continued…

Tales from a Scenic Artist and Scholar. Part 580 – Harry J. Kuckuck

Part 580: Harry J. Kuckuck

In 1901, the Lee Lash was the head of two companies, one in Philadelphia and one in New York City. The Lee Lash Studio offices were located at 39^th and Broadway in New York City and 732 Drexel Building in Philadelphia.

Advertisement in the 1901-1902 issue of Julius Chan’s Official Theatrical Guide. Note the two company locations.

Lash established the Philadelphia studio in 1892. From the very beginning of its founding, a local scenic artist found work there – Harry J. Kuckuck (1876-1945). He would ascend the studio ranks, just as Thomas Moses (1856-1934) did at the Sosman & Landis studio in Chicago. Similarly to Moses, Harry J. Kuckuck would attempt to purchase the studio in the 1920s, eventually purchasing the company from Lash during 1926. At this point, the studio name changed to H. J. Kuckkuck’s Lee Lash Studio. It remained in operation for another twenty years, until the time of his death in 1945.

A Kuckuck’s Lee Lash Studios NY sign with that was once attached to the Hershey Theatre fire curtain’s controlling mechanism and is now part of the Hershey Story Museum on Chocolate Avenue (Here is the link to the artifact: https://hersheystory.pastperfectonline.com/webobject/06263EA9-4F35-41C2-A565-438659853932).

The Hershey theater with fire curtain by Kuckuck’s Lee Lash Studio

The Hershey Theatre where the sign was located. There is a nice little article on the theater in the Legacy, news from the Hershey Foundation Fall/Winter 2010, issue 11 Here is the link: https://doc-00-1o-apps-viewer.googleusercontent.com/viewer/secure/pdf/ivtn9ao9oalpirl4ja9f37o04i1917ab/7sdees3o6brel41p0vd99i2mlfma1h3t/1543624275000/lantern/17306996083351342362/ACFrOgDQNJ_Wkwea5hBfZmPehZkGlXJ-VRgXQjVbUCxH6KUAeFgME8V5gp_WHJ2YEMl0JPkcLasBRCtmiZdzzKa6u54T8BjP-66U30Rae1zOUgQyT51dGTCOLBVlJJWzmsiubeUDtA2hcZAAGeYY?print=true&nonce=t8jqutcflvo3a&user=17306996083351342362&hash=t3s4v9ei52vge1q0ertddb3p19quegnf

Looking in a 1918-19 New York Corporation Directory, Harry J. Kuckuck was associated with two Lee Lash Companies – Lee Lash Co (NY) that specialized in advertising and Lee Lash Studios, Inc. (NY) that specialized in scenery. Each was listed in R. L. Polk & Co.’s 1918-19 Trow New York Co-partnership and Corporation Directory, Boroughs of Manhattan and the Bronx (page 644).

In the directory, Lash was listed as president of Lee Lash Co (NY) and Harry J Kuckuck was listed as the treasurer. The capital for the company was $500,000, with the directors being Lee Lash and Harry Kuckuck. In the same directory, Lee Lash Studios Inc. (NY) also listed Lee Lash as president, Hugo Gerber as Secretary, and Harry J. Kuckuck as treasurer. The capital for this company was reported to be $100,000. The directors were Lee Lash, Hugo Gerber and Harry Kuckuck. Both companies were located in the same building at 1478 Broadway Road 724.

I have uncovered very little information about Harry J. Kuckuck’s personal life. Kuckuck was born in Philadelphia, Pennsylvania during 1876. He began working for Lee Lash at the age of 16 years old when Lash opened a studio in Philadelphia during 1892. That meant he was the same age as many other boys who entered the scenic art industry at the time, starting as pot boys and apprentices. For Lash, Kuckuck was a necessary addition to the new studio, providing cheap labor for the newly formed company. In 1894.

Kuckuck was still listed as living in Philadelphia at 1944 North Fourth Street That year his family hosted a birthday party for him and published it in the local paper (Philadelphia Enquirer, 9 Dec 1894, page 14). He was still in the city during 1897 when the “Times” reported, “On Wednesday evening, January 6, Mrs. Annie M. Kuckuck celebrated the twenty-first birthday of her son, Harry J. Kuckuck, at their home on North Fourth Street” (Philadelphia 10 Jan 1897, page 21).

Many years later, Kuckuck even mentioned as a New York artist who “paints on scenery and drapes” in a entertaining poem. It was published in the “Arizona Daily Star” during 1938. At the time, Kuckuck would have been working as a scenic artist for 46 years (8 Jan 1938, page 18). Here is the poem:

The “Sky” Line of New York

“Did you ever go a-messin’

Round the land of delicatessen

Way up in Harlem or the Bronx?

Where there’s Abe and Jake and

Izzy,

Whose last names would make you

Dizzy,

Like Tinskys and the Plotskys

And the Kronkes.

Ther’s Finifter and Dorshininsky,

Gronowitz and Sam Tuchinsky,

Manowitz and Katrowitz and Weiss.

Where the Haases and the Hesses

Handle cloaks and suits and dresses,

And the Wassermans are friends

Of Kalt and Heiss.

Wishnofsky and Wishnettsly,

Turkenvich and J. Pisetsky,

Dinerman who offers Kosher meat,

Rabbi Yarshun fixes marriages,

Hyman Zarchin, baby carriages,

While Suckerman the lawyer’s

‘cross the street.

Joseph Spitz sells atomizers,

Jacob Slutsky appetizers,

Harry Kuckuck paints on scenery

And drapes,

I Janowitz sells butter,

And so does Perlmutter,

Izzy Sklarsky deals in oranges, and

Grapes.

There is Yokel and there’s Yevel;

All these names are on the level.

I’m telling you the truth, I hope

To die,

If you doubt it have your own look

Thru the pages of your phone book.

For I’m sure the Book of Numbers

Doesn’t lie.

Now I’ve been a cheap ham actor,

Peddled books and run a tractor,

Around the honky-tonks;

I’d take any job you’d tell me,

But one job you couldn’t sell me-

That’s the guy who takes the census

In the Bronx.

-El Toro”

I have located little else about Kuckuck, other than in a 1940 census. Harry J. Kuckuck was listed in the 1940 census as a 64 year old man who was born in Pennsylvania during 1876. These dates match newspaper accounts mentioning his 21^st birthday in Philadelphia during 1897. The census also listed Kuckuck’s residence as being in Assembly District 21, Manhattan, New York City, New York. Other people in his household at the time were Leonora (age 55 yrs.) and Frederick (age 26 yrs.) His marital status was widowed.

To be continued…