Toomey & Volland – Page 4

Tales from a Scenic Artist and Scholar. Part 707 – The Second Louisville Scottish Rite

Part 707: The Second Louisville Scottish Rite

The first Scottish Rite Cathedral in Louisville was a the remodeled building during 1895- St. Paul’s Episcopal Church at Sixth and Walnut Streets. From this moment forward, the Masonic membership in Louisville continued to grow at a rapid rate. By 1919, the Scottish Rite candidate class size numbered 200, and the high membership numbers began exceeding the building’s capacity.

During the 67^th annual spring reunion in 1919, the president of the “Victory Class “of Scottish Rite candidates introduced a resolution. Dr. T. H. Tuley urged “the Grand Consistory immediately to make plans for the erection of a Scottish Rite Cathedral in Louisville which will prove a credit to the Rite and to the city.” The Courier-Journal reported, the reading of the resolution was greeted with applause, and from the manner in which the proposition was received it seems possible some steps in this direction will be taken” (26 April 1919, page 4).

Previously, Courier-Journal published, “Largest Class in History of Consistory Attending Scottish Rite Meeting. 200 At First Dinner” (23 April 1919, page 9). The session opened at 10AM on April 22, with conferring the Lodge of Perfection degrees (4-14). The article noted, “For several months the Scottish Rite has been practically overwhelmed with applications for membership, every Masonic lodge in the State reporting unusually large numbers of initiates. The result has been that for the first time in many years it has been necessary to hold two spring Scottish Rite classes, the first one having completed work only about ten days ago.” Capt. John H. Cowles, sovereign grand inspector general of the Supreme Council of the Rite, was interviewed by the Courier-Times. They reported, “He says unusually large classes are being accepted into the rite in all consistories of the southern jurisdiction. He was highly pleased with the showing made by the Louisville lodge, especially in view of the fact that he received his degrees here and is a native of Kentucky, having lived for many years in Louisville.” In 1919, the Louisville Scottish Rite also premiered a four-page publication for attendees title “The Reunion News,” which was published every day during the reunion. This does not surprise me at all, as the Scottish Rite once met in the same building as the local newspaper, the Courier-Journal. What a great idea.

Scottish Rite membership was explosive during the 1920s and the influential power of the Freemasons was substantial. This is a moment in time when the Rite was very vocal about their activities and positions on both the political and social stage. From the late-nineteenth century to early twentieth century, is was not unusual to find detailed information pertaining to daily activities at Scottish Rite reunions, a list of members, and the history of the organization. The views of the Rite pertaining to public education and other social issues were published for all to read. When a potential candidate thought about joining, there was no question in his mind about what the organization was really about and if it was a good fit. This may be why the Scottish Rite continued to gain ground and dominate the fraternal landscape of America.

On May 11, 1923, the Courier-Journal published that “Scottish Rite Masons will begin a three-day campaign May 23, to raise the $300,000 necessary to complete their building fund for the proposed $750,000 cathedral at the southwest corner of Fourth and Breckinridge Streets. Ground for this structure will be broken in September, it was said. The cathedral will have four stories and basement, with an auditorium seating 1,350 persons. Solicitation will be from the 2,286 members in the State of which 1,200 are in Louisville, The campaign will be in charge if Benjamin S. Washer, Richard Priest Dietzman, Edward F. Metzner, Harvey White and Dr. E. L. Henderson” (page 18).

On June 27, 1923, the old Scottish Rite was sold, becoming the R. E. Jones Temple, Methodist Episcopal Church. On September 9, 1923, the Courier-Journal announced, “The contract for the construction at Fourth and Breckinridge Streets will be awarded shortly after bids are opened about October 15” (page 34).

There is one thing to consider about the second Scottish Rite stage. As a church took possession of the old Scottish Rite building, it is unlikely that any Masonic scenery or artifacts would have been left behind. This means that the old scenery would either have been enlarged for their new home, (as such was the case with the 1910 Guthrie scenery) or it would have been replaced with new scenery and sold to another Scottish Rite theater.

I have only encountered two references about a scenery orders delivered to the Louisville Scottish Rite during the twentieth century. The earliest was in 1910, when the Louisville Scottish Rite purchased scenery from Toomey & Volland. However, Toomey and Volland advertisements from 1912 do not list Louisville alongside fifteen other Scottish Rite Cathedral installations by that time, suggesting that they were only adding to a previous collection. Toomey & Volland may have only expanded the original 1895 scenery collection during 1910. It is unclear if E, A. Armstrong Manufacturing Co delivered the original scenery to Louisville either; meaning in was subcontracted to Sosman & Landis. The Louisville Scottish Rite is not included in a 1902 E. A. Armstrong advertisement that notes all the Consistories that they equipped since 1897. Granted, Louisville was two years earlier in 1895, but it leaves a question in my mind concerning who delivered the scenery. One other person comes to mind – E. T. Harvey. Harvey was the scenic artist who produced Scottish Rite scenery collections for Cincinnati in 1886 and Cleveland in 1901. It will be fun to see what I find on site.

Regardless, by the 1950s, Volland studio records a second scenery order from the Louisville Scottish Rite, but they do not specify exactly what was delivered. This means it the order could have ranged from one scene to an entire collection.

To be continued.

Tales from a Scenic Artist and Scholar. Part 639 – Operating Means for Curtain Drops, Victor H. Volland in 1926

A little more than a decade after Seth G. Bailey invented an electrical mechanism for handling hanging scenery, Victor H. Volland came up with another option to handle scenery. In 1930, the United States Patent Office published an application filed on August 23, 1926 for operating curtain drops.

*Victor H. Volland filed a patent in 1926 to operate scenery. Here are the drawings.*

*Victor H. Volland filed a patent in 1926 to operate scenery. Here is a detail.*

Victor H. Volland of Clayton Missouri, assignor to Volland Scenic Studio, Inc. of St. Louis Missouri, a corporation of Missouri submitted an application for a patent pertaining to the “Operating Means of Curtain Drops.” Victor wrote, “My invention related to improvements in means for operating curtain drops, in which each curtain drop together with hoisting mechanism and other accessories are combined into a single unit.”

Victor H. Volland was Hugo R. Volland’s son. Hugo R. Volland (1866-1921) founded a scenic studio in St. Louis, Missouri with Patrick J. Toomey (1861-1922) called Toomey & Volland at the turn of the twentieth century. Here’s little background about the inventor of the patent’s family.

Hugo R. Volland was born on May 6, 1866 in Großenbach, Germany. He was first listed as a St. Louis resident in 1888, living with his brother Otto and advertising as a painter. He worked for Noxon & Toomey as a studio as a scenic artist and secretary for the firm in 1892. By 1901, Hugo R. became vice-president of Noxon & Toomey. In 1902, the firm’s name was changed to Toomey & Volland. Toomey remained president of the company until 1919 when he retired. Hugo R. then became president, with his youngest son being vice-president.

Hugo R. and his wife Laura had three children – Louis J. (1897-1973), Victor H. (1899-1964) and Rose M. daughter, Rose (married name was Rose du Mosch). We are going to focus on the sons for now.

Even though Victor H. was the youngest son, he would be the first successor of Hugo R after his passing in 1921. Victor H. joined the United states Army during July 1918 (Private, 332nd Battalion, Company A). He entered the Tank Corps and sailed Sept. 29, 1918, landing at Bordeaux where he was stationed at Langres, France.

He safely returned home from military service and married by 1920. Victor became the secretary for Toomey & Volland and continued in this position until his father’s death in 1921. At this point the company began to change, as Toomey had already retired three years prior to Victor taking the reign from his father. When Victor became president of the company, his older brother Louis became the vice-president. At this time there was a notable shift in the tenor of the company.

There was also a shift in studio locations. In 1900, Toomey & Volland studio was located at 2312-14-16 Market Street, just outside the downtown theatre district. This lot was owned by Toomey. In 1922, Toomey & Volland scenic studios moved to a new location at 3731-33-35-37 Cass Avenue. Hugo R. never saw the completion of the new building as he died of heart disease before its completion. His wife Laura also passed away from heart disease, just a few months later; she died in a theater.

Patrick Toomey died from a heart attack in 1922 only a year after Volland passing. His passing was the same month that the studio was anticipated to open – March. Toomey’s only son followed a different path in life and the scenic studio was under the complete control of the Volland family. To lose the two founders within a year, caused major changes in the company’s focus. The production of painted scenery at the studio began to take a back seat, and the manufacture theatrical equipment assumed a more dominant role. Furthermore, the name of Toomey was removed from the firm, beginning the age of Volland Scenic Studios, Inc.

Imagine my surprise yesterday evening, to see a detail photo of a fly rail with lights that looked like Volland’s drawing from his patent on FB Group Archiving Technical Theatre History. On February 7, 2019, Robert Bob Foreman posted a photograph with “Has anyone ever seen one of these? Mounted to the flyrail of the 1927 (Kalamazoo) State Theatre, it appears to be a series of cue lights, with switches operated by the cue-ee! System installer unknown.”

*1927 State Theatre in Kalamazoo, Michigan*

*Drawing from Victor H. Volland’s patent, filed in 1926*

In all appearances, it looked like a part of what Volland invented in 1926. Attached is the 1926 patent with images. Volland’s patent described, “Mounted in the guard box 18 is an incandescent lamp 19 provided with a switch 20, said guard box being secured to a forwardly projecting end of the top member 11. At a particular time during a theatrical performance the map 19 may be caused to light, indicating to an attendant that a certain curtain is wanted, and by opening the lock 12 and pulling the rope 7, the curtain is raised or lowered as desired. Prior to this invention such devices were without individual locking devices and signal lamps.”

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 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…

Travels of a Scenic Artist and Scholar: CITT, August 17, 2018

Rick Boychuk and I ventured with a group to the Hamilton Scottish Rite in the morning. About 45 minutes away from St. Catharine, the group on the bus survived navigating some unexpected obstacles on the way to the theater. A television series was filming outside of the Scottish Rite, so it caused a bit of a delay at first.

King Solomon’s private apartments at the Hamilton Scottish Rite. Scenery produced by Toomey & Volland in 1921.

King Cyrus’ palace at the Hamilton Scottish Rite. Scenery produced by Toomey & Volland in 1921.

The Masonic scenery collection was produced by Toomey & Volland of St. Louis, Missouri, delivered to Canada in 1921. Like many drops, their were charcoal notations that listed the degree, description of the composition and delivery location. The delivery for this scenery did not note St. Catharine, just “Canada!” There were 23 scenes spread out over 84 lines with the drops measuring 24’ high by 37’-6” wide. Although the theater was hot an humid, volunteers jumped at the opportunity to operate the lines. It is always fun to see the delight of my colleagues experiencing Masonic stages for the first time, and yesterday was no exception! As a few of the scene painting students were also able to attend, it was especially satisfying to watch them see what we discussed up close. Every collection is unique and has some delightful characteristic. Unfortunately, this particular collection has had extensive repairs completed over the years, not all of which will contribute the the overall longevity of the collection.

We returned to the Meridian event center by noon for the membership luncheon and then enjoyed a variety of educational sessions in the afternoon. Rick presented about our latest discoveries in the world of stage machinery, including the development of two program documents that we are currently developing at Historic Stage Services. I also attended John Madill’s session “BOO! Part 3. Smoke & Mirrors: The Importance of Horror in the Development of Physical Staging in Modern Theatre.” This was a continuation for me as we chatted extensively about “Tippy” Cooke and vampire roles the day before during the expo. John would later receive the Dieter Penzhorn Memorial Award at the evening banquet. John and I were able to visit quite extensively this year as he took both the scene painting class and he has been following my blog. Another of the students from the CITT scene painting class at CITT also received an award; Esther Van Eek received the education achievement award. She is absolutely amazing!

Overall, it was a wonderful and informative day.

2018 CITT/ICTS Dieter Penzhorn Memorial Award recipient, John Madill

I simply learned more than I have the energy to write about this morning; I am sure a surprise to some!

To be continued…

Tales from a Scenic Artist and Scholar. Part 464: Patrick J. Toomey and the Majestic Theatre in Austin

Part 464: Patrick J. Toomey and the Majestic Theatre in Austin

P. J. Toomey’s only son wrote a book about his maternal genealogy and German heritage titled, “The Vogts von Berg in Düsseldorf and American” (200 copies printed for private distribution, St. Louis, Missouri, 1921). He dedicated the book to his mother Mrs. Mary Vogt Toomey.

Book about Mary Vogt’s family by her son Thomas Noxon Toomey in 1921

Mary Anna Vogt was born in Iowa City on December 20, 1859. She was one of seven children born to Dr. William Vogt and Mary O’Connor. Her father was born in Düsseldorf in 1816, studying medicine in Heidelberg before working as a ship’s surgeon. He later practiced among the German intellectuals in Belleville, Illinois before being invited by the Governor of Iowa to visit Iowa City, where he later married Mary O’Connor of that city in 1849. The couple had seven children: Carl Albert (b. 1852), Catherine Hannora (b. 1853), William Julius, Mary Anna (b. 1854), Augustine (b. 1855), James Francis (b. 1858), Caroline (b. 1861), and Edith (b. 1887).

P. J. Toomey’s wife, Mary graduated from St. Agatha’s Seminary in 1874 and from Mount St. Joseph’s College in 1878. She taught English at Iowa City High School between 1880 and 1884. On October 5, 1886, Marry married Patrick Joseph Toomey. Although the couple had two children, Thomas Noxon (b. 1893) and Mary Wilhelmina (1903-1904), only their son survived infancy. For many years, Mary was the Corresponding Secretary, General Council, for the Daughters of the Queen of Heaven. From 1908-1909, she studied in Paris. It was during this time, that her husband sent postcards to Thomas Moses at Sosman & Landis. Mary was presented to Pope Leo XIII, and to Pope Pius X. She was extremely active in charitable and civic work since shortly after her marriage to Toomey.

Postcard from P. J. Toomey to Thomas G. Moses in 1908, when Mary was studying in Paris.

There are several connections between the Toomey family and the Moses family, possibly having contributed to their continued friendship over the decades. First of all, P. J. Toomey and Mary Vogt were approximately the same age as Thomas G. Moses and Ella Robbins. Thomas and Ella married in 1878, whereas P. J. and Mary married in 1886. In some ways they shared similar family circumstances; Thomas Moses’ father was once a ship’s captain while Mary Vogt’s father was once a ship’s surgeon. Both Toomey and Moses came to the United States as infants, with Toomey born in Limerick, Ireland, and Moses born in port at Liverpool. Each entered scene painting at approximately the same age as an apprentice. Whereas Toomey was apprenticed to Thomas C. Noxon, Moses was apprenticed to Lou Malmsha at McVickers and worked his way up the ranks at Sosman & Landis; both studied with mid-nineteenth-century immigrants. Their artistic mentors passed along a similar approach to scenic art, using opaque colors common to European and Scandinavian immigrants, versus the English tradition of glazing (see past installments 387 and 411).

Mary Vogt’s sister Caroline married a lawyer, George Benjamin Hufford, on April 20, 1905 in Leavenworth, Kansas; the couple moved to Austin, Texas where Hufford was a U. S. Commissioner. They lived in Evergreen Heights in Austin. There is a reason why I am telling this backstory as it has to do with the Majestic Theatre in Austin, Texas.

Opening article for the Majestic Theatre, later to be known as the Paramount, from the “Austin Statesman and Tribune,” 11 Oct 1911, page 2

When I was in Austin this month for the League of Historic American Theaters conference, the closing party was held at the Paramount Theatre, originally established as the Majestic Theatre. During the welcome and brief presentation by the staff, the fire curtain was lowered. It was original to Majestic Theatre when it was built in 1915. As I looked at the painted curtain, complete with blue draperies, ornate frame, woodland stream, and tassels at the bottom, something looked familiar.

Fire curtain at the Paramount Theatre, previously known at the Majestic Theatre, 1915. Painting by Toomey & Volland.

The Majestic Theatre fire curtain, now known as the Paramount Theatre in Austin, Texas. I changed the colors in the image to more closely reflect what the actual curtain should look like under normal lighting.

Current lighting of the fire curtain from 1915 at the Paramount Theatre. Overly saturated colors will flatten the depth in a painted composition, reducing the scenic illusion.

It was the tassel painting that made me think of a Noxon & Toomey drop design that I encountered in 2016. The unique tassels at the bottom of the composition jogged my memory.

Tassel painting in design by Toomey & Volland and fire curtain at the Paramount Theatre.

Design by Toomey & Volland studio of St. Louis. I believe that P. J. Toomey created this drop curtain design.

Design by Toomey & Volland studio of St. Louis. I believe that Hugo R. Volland created this drop curtain design. The style is very different from Toomey’s.

Sure enough, the fire curtain composition was signed “Toomey & Volland” of St. Louis. I had started to explore the stylistic tendencies of each artist a few years ago, and I believed that this curtain was by Toomey, not Volland. It is possible that it could have been done by any of the studio artists at the time, but it had a much older feel about it – a throwback, one could say.

Sadly, it was lit with oversaturated colors and some of the painting techniques were difficult to discern, as overly saturated lighting flattens the dimension of the scenic illusion and skews the entire composition. Regardless, it was obvious that this composition was painted by an artist from an earlier generation – the generation of Thomas G. Moses. I believe that this is the work of the senior partner in the painting firm at the time – Toomey. Toomey has entered my blog on occasion, as he was a good friend of Moses.

But here is where it gets interesting and loops back to the Paramount theatre. As I was researching Toomey & Volland, I came across the reference that Toomey’s sister-in-law who settled in Austin, Texas.

Mary Vogt Toomey and her sister Caroline Hubbard. The two portrait were posted in the book by Thomas Noxon Toomey.

Her husband was a City Commissioner. Furthermore, for the opening of the Majestic (later Paramount), members of the City Commission and their families were invited as guests for one of the first box parties. The Majestic was managed by Austin F. Gale Wallace, and before the fire curtain rose for the first time, Wallace gave “a curtain speech,” introducing the Mayor and members of the City Commission and then acknowledging those who had been instrumental in “giving Austin this large, modern, up-to-date amusement house – ‘the last word in theater architecture,’ said Mayor Woolridge” (The Austin American, 12 Oct. 1915, page 3). I have yet to find any credit being given to Toomey & Volland, or any other contractors beyond the architectural firm for their contributions.

To be continued…

Book about Mary Vogt by her son Thomas Noxon Toomey in 1921. Only 200 copies were privately printed in St. Louis, Missouri.

Here is the link to Thomas Noxon Toomey’s book: https://books.google.com/books?id=RudFAQAAMAAJ&pg=PA18&lpg=PA18&dq=Mary+Vogt+Hufford&source=bl&ots=bf1krOTCqC&sig=oyd3beloyo3kZsFMvXnhVhP2ajo&hl=en&sa=X&ved=2ahUKEwiP35WT_cTcAhWMx4MKHaHGA1wQ6AEwAHoECAEQAQ#v=onepage&q&f=false

Travels of a Scenic Artist and Scholar: The Paramount

A vintage photograph of the Paramount in Austin, Texas

The fire curtain at the Paramount Theatre in Austin, Texas. The League of Historic American Theatres conference held their closing party on the stage.

The fire curtain was produced by the St. Louis scenic studio – Toomey & Volland.

Looking up at the Paramount Theatre in Austin, Texas.

The last event for the League of Historic American Theatres (LHAT) was at the Paramount Theatre. We learned about the incredible history of this beautiful historic theater and its inspiring staff. Each of the staff gave brief presentations and insight into the running of their venue. We looked at funding, educational development, community outreach, and productions.

What struck many of us was the passion and dedication clearly apparent as individuals spoke about their role and mission. It is apparent that the employees feel appreciated. They are treated very well; this feeds into and supports their continued dedication. This is such a no brainer. In this venue, labor is not the enemy. Great healthcare, benefits, and support pay off in the long run.

The Paramount perspective: Investments in our greatest asset…our people.

The executive director of the facility took the time to explain their approach. The repeated over and over that they took the time to investment in their greatest asset…our people. This venue treats their patrons and staff equally well. They are an example of what all theaters, and businesses, should aspire too.

Only 20% of their revenue is dependent on grants, with the majority of their funding originating from private sources. They worked hard to achieve this level of success and continue to work hard at it.

The LHAT closing party was held on stage with a Texas barbeque theme, complete with picnic tables, bourbon samples, and sparking lights overhead. Despite everything else that is troubling in the world, we all needed this community event and positive message. The experience left me with a feeling of hope.

Painted detail at the Paramount Theatre in Austin, Texas

To be continued…