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Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.

The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

Copyright © 2020 by Wendy Waszut-Barrett

In 1921, Thomas G. Moses wrote that he secured a scenery contract with the Dallas Shrine. In addition to supervising Shrine settings being built in Chicago, Moses was also negotiating a new scenery installation for the Little Rock Scottish Rite Theater. Of the upcoming projects, Moses wrote, “ “I have plenty to do on Masonic models and I am afraid I will have to get some help.” 

This Dallas project was for Hella Temple, Ancient Arabic Order of the Nobles of the Mystic Shrine. Moses recorded that Sosman & Landis “furnished a big set for the Shrine which was done in Chicago.” This means the actual construction and painting for the setting was completed in Chicago; the setting was shipped to Dallas that spring. In April, the Hella Shrine Temple hosted the Shrine Director’s Association of North America annual convention. The painted setting was possibly for use at that event.

On 27 March 1921, “Galveston Daily News” announced “Six Hundred to Attend Dallas Shrine Meeting” (page 8). The article continued, “Dallas, Tex., March 26.- Reports received by the arrangements and reception committee for the convention of the Shrine Director’s Association of North America, which meets in Dallas April 7 to 9, are to the effect that about 600 delegates will attend. The directors are meeting in Dallas in the third annual convention for the purpose of checking up of the curriculum of events encountered along the desert sands over which the novices travel at each ceremonial given by the Shrine Temples in North America. The meetings in Dallas will not be open to the general membership of Hella Temple, but will be confined exclusively to the directors and the committees in charge. Hella Temple will be host to the convention and will entertain the visitors while in Dallas. James E. Forrest is president of the association.”

On the last day of the convention, Frank H. Cromwell, of Ararat Temple, Kansas City was chosen president of the association (Austin America-Statesman, 9 April 1921, page 1)

To be continued…

Scenic design by Sosman & Landis Scene Painting Studio of Chicago, Illinois. This painted setting was designed for a Masonic clientele; the Masons used theatre as an instructional tool for members. Scottish Rite theaters were constructed to produced dramatic productions, teaching a specific lessons, similar to a morality play.

Here is the link to the cut drop design on the scenery collections database: https://umedia.lib.umn.edu/item/p16022coll116:1585?facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections&page=2&q=masonic

Here is the link to the backdrop design on the scenery collections database: https://umedia.lib.umn.edu/item/p16022coll116:2115?facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections&page=2&q=masonic

The backdrop and cut drop design are part of the Holak Collection, Performing Arts Archives, University of Minnesota Libraries. The Holak Collection, Twin City Scenic Co. Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

I post a historic scene every day to my FB Group Dry Pigment and my FB Page Wendy Rae Waszut-Barrett.

Copyright © 2020 by Wendy Waszut-Barrett

In 1921 Thomas G. Moses wrote, “Did two watercolors for Mr. Hoblitzelle, which I trust will be pleasing to him and his wife.” This was immediately after Moses painted the asbestos curtain and decorated Hoblitzelle’s new Majestic Theatre in 1921.

Much has been written about Karl St. John Hoblitzelle, namesake of the Hoblitzelle Foundation.

The following write up about Hoblitzelle is included as part of the foundation’s history (https://hoblitzelle.org/about):

“Karl St. John Hoblitzelle was born in St. Louis in 1879.  While serving as an event manager at the St. Louis World Fair in his early 20s, Karl Hoblitzelle met performers and concession operators who indicated the south, in particular Texas, lacked venues to showcase their work and talent.  Upon the fair’s closing in 1903, Karl Hoblitzelle came to Dallas, Texas with $2,500 and began to build a chain of vaudeville theaters. At its peak, Interstate Theater Company held 160 theaters across Texas and the Southeast.  These theaters were soon transformed into movie houses, and the success of this entertainment business created financial resources which he invested in the growing oil and gas, real estate, and banking industries in Texas. 

Karl Hoblitzelle married Esther Thomas in 1920, a Broadway starlet who had performed under the name of “Esther Walker” and come to Dallas to perform at one of the theaters.  Both were active in the social, civic, and cultural activities of Dallas, and did not have any descendants.

Prudent management of their financial assets resulted in the accumulation of significant wealth, which upon the death of Mrs. Hoblitzelle in 1943 and Mr. Hoblitzelle in 1967, became the corpus of Hoblitzelle Foundation.

For more information about the history of Karl Hoblitzelle, please refer to the book published by Paul W. Harris, President and CEO from 1986-2017: https://static1.squarespace.com/static/5b33b0daec4eb7c0b38e600e/t/5b48f821f950b785d85bde19/1531508870948/Hoblitzelle75thAnniversaryBook2018.pdf ”

It was likely that Moses first met Karl St. John Hoblitzelle at the St. Louis World’s Fair. Moses attended the event with his wife Ella, checking on several attractions delivered by the Sosman & Landis Studio for the event. Moses frequently gifted a painted to client’s he considered good friends by the end of a project. It is no surprise that Hoblitzelle was the recipient of two watercolor paintings. I wonder where they are now?

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1921, Thomas G. Moses wrote, “Mitchell of Mitchell and Halbach has engaged my services for Dallas, Texas, for the new Majestic Theatre.”

To clarify, a well-known interior decorating firm subcontracted some of the work for the new Majestic Theatre in Dallas to Thomas G. Moses, representing Sosman & Landis.  Since the establishment of Soman & Landis, the firm delivered stage scenery and painted décor for a variety of venues. This does not mean that Moses was credited for any of the Majestic Theatre painting as a subcontractor.

Since the late nineteenth century, Mitchell and Halbach were well known interior decorators and furnishers, located at 1715 S. Michigan Ave. in Chicago, Illinois. In 1921 they advertised as “specialists in high class interior decorations and furnishings for public and private buildings.  Moses had even hired Mitchell & Halbach to decorate the rooms in his own home.

Later in 1921 Moses specified his contribution to the Majestic Theatre in Dallas, writing, “I was successful with the asbestos curtain, and then went on to the wall decorations, which were very interesting and finally the playroom which was doubly interesting.” Moses remained in the south for nine weeks, working on the Majestic Theatre,  Dallas Shrine scenery, and negotiating future contracts with the Scottish Rite in Little Rock, Arkansas.

Moses was accompanied by his wife Ella [Madam] when they headed south that February, writing, “On the 15^th I started for Dallas, where I arrived the next day, late in the afternoon.  I was pleased to get this work as it was away from the extreme cold weather and a novel adventure for the Madam and myself.” 

Later that spring, Moses wrote, “Made a side trip to Little Rock to settle on the Scottish Rite Temple.  I hope to be able to close the contract very soon.  I enjoyed the trip as I saw some very interesting old buildings.  On my return to Dallas, it didn’t take me long to complete the work. 

Of Moses’ Majestic Theatre painting, advertisements announced, “In the vast auditorium that seats 3,000, a Roman Garden has been reproduced in detail. Overhead a sunset sinks to rest, sending the flaming amber tinted farewell to a sky that heralds the night with its millions of twinkling stars. One every side, seen over flower-covered walls, is a vision of ‘Gods Out-of-Doors, cloud-kissed hills with dormant  Vesuvius rising on the distance to greet them” (Corsica Daily Sun, 1 April 1921, page 10).

The Majestic Theatre in Dallas opened on April 11, 1921. It was advertised as the “New 2 Million Dollar Peak on the Dallas Sky-line” (Corsicana Daily Sun, 1 April 1921, page 10). This was the flagship of Karl St. John Hoblitzelle’s Interstate Amusement Company chain of theaters. Replacing Hoblitzelle’s previous Majestic Theatre from 1905 that burned to the ground in 1916. Located at the corner of Commerce and St. Paul streets, the five-story building boasted 20,000 square feet and was also home to business offices for Hoblitzelle. The Renaissance Revival structure was designed by John Eberson.” Later in 1921, Moses would write, “Did two watercolors for Mr. Hoblitzelle, which I trust will be pleasing to him and his wife.” Moses frequently gifted fine art paintings to his theatre clients. It was a personal thank you for the work and added credibility to the artistic works for the stage.

On October 13, 1921, the “Corsicana Daily Sun” reported, “When Fair visitors go to Dallas this year there will be one place they will all want to go – The New Majestic of Dallas, For to come to Dallas and fail to see this palatial show house would be like going to Rome and forgetting to visit the Vatican. The New Majestic of Dallas is conceded to be the peer of all playhouses in the world for it possesses a Majesticland. A playground that is all of 90 feet long and 50 wide- containing all manner of toys, animals, merry go rounds, slides, etc. Mary Garden the famous diva of the Chicago Symphony Opera Co. declared that even she – in her plans and ambitions for an ideal playhouse never dreamed of such innovation and theatredom as Majesticland. But Majesticland is the only one of the many perfect details of this beautiful theatre. Throughout it is an example of the highest art. Patterned after the beautiful decorations of Louis Sixteenth it stands alone in its simple elegance of beauty n in the entire southwest” (page 10).

Advertisements stated, “The ancients never thought of going to Rome without visiting the Coliseum. No one thinks of going to Paris without visiting the Louvre. No one thinks of going to Washington, D.C. without seeing the Capitol Building and White House. Correspondingly – on one thinks of going to Dallas without visiting the New Majestic Theatre – the Greatest Amusement Institution in America”  (Dallas Express, 8 Oct. 1921, page 7).

The “Scenic Artists” column in “The Billboard” that year reported, “Thos. G. Moses, art director for the Sosman & Landis Studios, is at Dallas, Tex., painting the new curtain and mural gardens in the new Majestic Theater now under construction. Mr. Moses states that this new Dallas House is one of the most wonderful in the country, having a number of unique features that make it interesting.” This article was clipped by Moses and placed in his scrapbook. There is no exact date or page number.

To be continued…

Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. Information on the back of the color rendering notes that the composition depicts Bordighera, Italy. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.

The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

I post a historic scene every day to my FB Group Dry Pigment and my FB Page Wendy Rae Waszut-Barrett.

Copyright © 2020 by Wendy Waszut-Barrett

Thomas G. Moses visited Minnesota in January 1921. Of the trip, he wrote, “Took a short trip to Louisville to get measurements for data for a big picture set, coming directly back and going to Le Roy, Minn., where I closed a contract for a decoration of a big pavilion used for dancing at the Oak Dale Farm.  I found some zero weather and had to go several miles out of town to the farm in an old bob-sled.” Moses later wrote, “I found the Le Roy job still hanging fire, so I had to go up and superintend the installing.  Everyone pleased.  We certainly got a good effect out of the ceiling panels.”

Le Roy was in the southeast corner of Minnesota, just a mile from the Iowa state line.

The dancing pavilion project was quite a project. At the time, Oakdale Farm near Le Roy, Minnesota, had a reputation for being the largest establishment of White Leghorns near that place. Stopping here to comment that it is hard not to visualize the cartoon character of Foghorn Leghorn. I guess that I am a product of Saturday morning cartoons.

By 1920, Oakdale farm comprised 80 acres and was stocked with 4,000 and 5,000 birds (New Ulm Review, 13 Oct. 1920, page 12). Each year, Oakdale Farms hosted an annual exhibit advertised as “More Fun Than a Circus! – More to See Than a Fair!” (Star Tribune, 3 Aug 1921, page 8). Advertisements announced, “Start early and make this a real picnic. Good places to park your car, and you’ll certainly enjoy the trip. 25,000 people expected, and there is room for all. Picnic tables free on the ground and arrangements have been made to serve cafeteria style at a nominal charge all those who do not care to bring their own picnic dinners. Plenty to eat for all.” I bet chicken was on the menu. There was “something ‘doing’ every minute!” that included aero-planes, vaudeville, band concerts and lectures.

The 1921 advertisement also  noted, “You will have an opportunity to ‘star’ in our motion pictures. The William A. Lochern Film and Slide Co. of Minneapolis are sending down their most expert crew to take picture for us of the crowds. We expect to show the film in every locality possible afterwards. Don’t miss getting in on this picture.”

On July 17, 1921, the “Star Tribune” included a picture of the dance pavilion announcing, “Oak Dale Farms Famous for Chickens” (page 33). The caption noted, “People who spend their vacation at the Oak Dale farms in Leroy, Minn., will have enough to eat. One of the farms is a famous poultry ranch and hatches out 50,000 chicks every month; if they cook them as well as hatch them, and it is said the do. Dancing in the pavilion should be postponed until some time after dinner. The other farm has gained notice for its stock. The photograph shows the corner of the dance pavilion at the farms.” This was a big enterprise that also functioned as a tourist destination. 

“Oakdale Farms, Inc.” made the newspaper multiple times in 1921. On August 21, 1921, the Star Tribune” reported, “Liens on Thomson Farm Break Records….Austin, Minn., Aug. 20. – All records for liens against an individual estate were broken here today with the filing of 56 liens, totaling $19,018.43, against Oakdale Farms, Inc. owned by R. J. (Cy) Thomson, embezzler of $1,890,000 from George A. Hormel & Co. The liens filed do no include those filed against Oakdale Farms at Le Roy, but are against property here and in Blooming Prairies. Liens against the LeRoy farms are filed in Cresco, Iowa. The amounts range from $621 to $3,956.49” (21 Aug 1921, page 11).

This mention on Moses’ diary shows the variety of projects that came into a scenic studio, ranging from rural Minnesota dance pavilions to metropolitan coliseums. In 1921, Sosman & Moses also delivered scenery to the Acadia Dancing Hall. These firms delivered painted scenes and decorations all over the country to stay afloat.  My greatest question was why a poultry producer south contracted a Chicago scenic studio, rather than one in the Twin Cities. However, there was the mention of Oakdale Farm’s connection to Hormel in Chicago, also a client of Sosman & Landis.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1921, Thomas G. Moses wrote that early in January they closed a contract with Mrs. John Alden Carpenter for a fashion show.

Moses had previously worked with Mrs. John Alden Carpenter on a Boardwalk show at the Chicago Coliseum in 1919. His scrap book included newspaper clippings pertaining to the event. On showed Moses at work with Mrs. Carpenter nearby. Of the 1919 event, Moses wrote, “Early in February we put the fashion show on, and it was quite a success.” I have written about this project in the past. On Nov. 24, 1919, the “Chicago Tribune” announced, “New Ocean Ready to Roll at Boardwalk.” The article continued, “Mrs. John Alden Carpenter’s painted ocean is finished it the last wave and all ready to roll up under Atlantic City Boardwalk at the Coliseum on dec. 6, when the bazaar for the benefit of the Passavant Memorial Hospital building fund is opened. The ocean and all other decorations have been designed by Mrs. Carpenter, who evolved the idea, bringing the board walk to Chicago, and are being executed by Thomas G. Moses” (24, 1919, page 7).

Of Mrs. Carpenter’s fashion show, the “Chicago Tribune” reported, “Mrs. John Alden Carpenter has decided to capitalize her skill in interior decorating but not for herself. She has elected to contribute her artistic ability as a gift for needy children. In future she will charge for services, but the money will go to the Illinois Children’s Home Aid Society. Mrs. Carpenter’s first’ professional’ job will be the decorations for the Fashion Show, to be held in First Regiment Armory Feb. 9 to 19, by the Chicago Garment Manufacturers’ association, the wholesale milliners’ association, the Chicago Furrier’s association. The check for her services will be sent directly to the children’s society. The transplanting of the Atlantic City board walk to Chicago’s Coliseum last winter was the work of Mrs. Carpenter, who also did the decoration for the Pageant of the East, for the Ten Allies ball in Madison Square Gardens in New York, and for Russian section of a pageant given for the Red Cross of Long Island. Everything in women’s wear for spring and summer, from hats to shoes, will be exhibited in little French shops along a street that will be an exact replica of a street in Paris” (14 Jan. 1921, page 15).

On “Designer of gowns and millinery, carpenters and painters, 150 beautiful models, and manufacturer and whole salers are rushing preparation for the Fashion Show and Merchants’ Fair to be held in the First Regiment armory, Feb. 9 and 19, inclusive. Mrs. John Alden Carpenter, who designed ‘Le Boul Miche,’ the boulevard of French shops to be erected in the armory, daily goes to 417 South Clinton, where the shops are being built and painted, and personally directs the work. The beautiful models selected for the nightly promenade to display Milady’s wear, are being fitted to the coats, suits and gowns and other apparel they will wear. It will require quick work to get the boulevard of shops erected in the armory, as the automobile show will not get out of the armory until Feb. 7, and then fashion show opens two days later. The show is under the auspices of the Chicago Garment Manufacturers’ association” (31 Jan. 1921, page 5).

Mrs. Carpenter has stuck in the back of my mind since 2017 when I came across the image of Mrs. Carpenter and Moses. It was not a new image, or a new name to me. When I compiled two indexes for Moses’ scrapbook and diary as an undergraduate, there was an entry for Mrs. Carpenter. When I expanded this index to 127 pages in 2006 (I was on maternity leave), I came across her name and picture again.

What I found so remarkable about the undocumented newspaper clipping in Moses’ scrapbook is the inclusion of the paint table. There are a few things to notice about Moses’ paint table in the picture.  There is an abundance of “pots” – containers for the dry pigment paste when painting a drop. This also ties into the name “pot boys,” mentioned by Sosman & Landis employee John Hanny. Pot boys was another name for paint boys.  Hanny explained that pot boys were given this name because they filled the pots of paint with pigment. These are not individually mixed colors for the composition, but pots for pure colors; they function like dollops of paint on an artist’s palette – a really big artist’s palette. This may be the only image of a paint palette used by Moses during his career from 1873-1934.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1921, Thomas G. Moses wrote, “Early in January we closed a contract for Joe Bren productions.”  That year, “Twin-City Daily Sentinel” reported, “The Joe Bren Company are professional producers of wide fame and popularity, doing an extensive business among the Shriners, Elks, and other fraternal organizations in all parts of the nation” (Feb. 26, 1921, Winston-Salem, North Carolina, page 2).

The article quoted Bren: “Our hope supreme is not to make money; tho we do not spurn the master linguist, Mr. Kale, who talks all languages with equal facility – not that, but primarily to get before the public and show the good people of the city what we can do.” The article continued, “Someone mentioned the great expense entailed in engaging this professional company. ‘Expense, be hanged!’ exclaimed John [Whitaker]. ‘We want to put on a show that will not soon be forgot, a show with home talent, but with the ‘home’ made invisible thru training by professionals.’”

Sosman & Landis produced all of the scenery for Bren’s productions. Bren had been a client of theirs since 1916. The Joe Bren Company was a Chicago-based theatrical company that partnered with churches, fraternal organizations and civic groups to stage fundraising shows. They tapped into the “everyone wants to be a star” mentality. So many long for their moment in the spotlight, and Joe Bren delivered that – an opportunity to don a costume and perform in front of professional scenery for family and friends, never leaving the comfort of their hometown.  The Bren Company was especially popular with Kiwanis Clubs, the Lions, American Legionnaires, United Commercial Travelers, Benevolent and Protective Order of Elks, and Ancient Arabic Order of the Nobles of the Mystic Shrine.

Bren Company representatives traveled from town to town, working with local talent to organize minstrel reviews; working as the producers, directors and some-times performers for each endeavor. The Joe Bren Company not only provided instruction, but also all of the sketches and songs. The traveled with all of the technical trappings; scenery, lighting and costumes were brought in by train. On Jan. 4, 1921, the “Courier-Gazette” reported, “The Joe Bren Production Company has its headquarters in Chicago where it keeps in touch with the progress of stage art. The company carries a carload of scenery, electrical effects and stage paraphernalia, to put the show on” (McKinney, Texas, page 1).

The only true flaw with this entire formula was the inclusion of blackface, as it continued to perpetuate harmful stereotypes and further deepen the racial divide in America. I have written about Bren in the past posts (see #941 and #1111). Clients in 1921 included the Dallas Shriners’ Club, the Elks Convention in San Francisco, the Elks Convention in New Orleans, Charleston’s “Jollies of 1922,” Davenport’s “Amoo Revue of ‘22” for the Amoo Grotto, Minneapolis Elks for the Boy Scout Camp fundraiser, the American Legion of Nebraska’s “The Jollies of 1922,” and many, many more.

Bren was back every year to purchase more scenery for his shows.  In 1923 Thomas G. Moses wrote, “Joe Bren’s work came in early this year, and we will try and give him a good job.  It is not apt to be paid for very soon as usual.” 

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

I am frequently asked about historic scenery maintenance and restoration techniques, with many suggesting I publish some form of manual. Unfortunately, there is no standard way to restore all historic backdrops, cut drops, leg drops, roll drops, wings or shutters. Each one is different, demanding a custom approach based upon a unique set of criteria identified during the preliminary research phase.

A stage artifact’s artistic provenance is the main factor in determining the appropriate process for a continued care program, maintenance or any restoration. 

Extensive research must be completed prior to proposing a plan for the handling, cleaning, or repair of a large-scale artwork. Certain questions need to be answered in advance too; who manufactured the scenery, when was the scenery manufactured, and where was the scenery manufactured? The answers to these questions are key in determining the preservation strategy for a specific stage artifact or scenery collection. These answers also prompt a subsequent series of questions regarding appropriate materials, techniques, processes, timelines, future display and use. Is this historic scene intended for display in a theater, or will it simply hang on the wall of an art gallery, commercial establishment, or private residence? How often will the scenery be used, if at all?  The answers to these basic questions help formulate a plan.

In addition to understanding an artifact’s artistic provenance, all stakeholders must understand that certain materials and techniques could destroy the artifact. I will explain what not to do, based on examples of poor repairs that I have encountered in the past.  There are specific materials and techniques that should never be used on historic scenery or fragile fabric, as they cause irreparable harm and could destroy a significant piece of theatre history.

Contemporary scene painting is a dramatic departure from historic scene painting, in terms of fabrics, painting products and artistic techniques. So much has changed over the past two centuries. Historic scenic art is foreign ground to many contemporary scene painters, especially as certain types of training and materials have vanished from most college curricula and theatre apprenticeships. Just because you are a scenic artist does not make you qualified to restore historic paintings; the two are worlds apart. In other words, an ability to paint historic scenes doesn’t mean you should repair historic scenery. Similarly, a fine art conservator is not necessarily qualified to assess and repair historic settings for the stage.

1. ESTABLISHING ARTISTIC PROVENANCE

The first step to any historic scenery project starts with research. You need to establish the artistic provenance of a stage artifact or scenery collection, and here are the questions that you need to ask, and why you need to ask them:

            WHO made it? Is it a backdrop painted on cotton sheeting by a student for a class play in the 1920s, or is it a drop curtain constructed of Russian linen and painted by an internationally recognized artist in the 1890s?  The manufacturer of a scenic piece matters, as it is integrally tied to the painting process and materials.

Many nineteenth-century and early-twentieth-century American scenic artists attended art institutes, at home and abroad. In many cases, fine art studies were completed in addition to a lengthy apprenticeship at a professional scenic studio before striking out on one’s own.  American scenic artists at this time were members of fine art organizations across the country, and much of their work continues to be treasured in the fine art world. For example, some scenic artists in the east belonged to the Salmagundi Club and/or Rochester Art Club.  In the midwestern states, scenic artists studied at the Chicago Institute of Art, joining unique groups, such as the Palette & Chisel Club. In the west, scenic artists belonged to a variety of fine art organizations established in the Pacific North West, California, New Mexico and elsewhere. Theatrical scenery created by scenic artists should not be considered any less significant than their smaller fine art pieces. Large scale works provided generations of artists with opportunities to explore color theory, painting techniques, compositional lay outs and lighting conditions.  That being said, there were many amateur artists producing scenery too, and their work is easily identifiable, but also culturally significant.

Regardless of skill level and/or final product, the terms “old backdrops,” “old backings for the stage,” and “old scenery” devalues stage art. Instead, refer to historic scenery as “large-scale artworks” painted by local, regional, national, or internationally recognized fine artists. Public perception is crucial when preserving theatrical heritage. Your terminology could save a piece of American theatre history, or world history.

            WHEN was the artifact manufactured? The year, decade, and/or century that the theatrical scene was produced helps identify the type of fabric, paint, and painting process.  Knowing the age of a scene helps identify various materials, especially the fabric and basic construction techniques. Fabric seams, whether vertical or horizontal, can also identify a particular era and studio. How the drop is suspended and operated also matters. Are there sandwich battens, rollers, jute webbing, or something else at the top and bottom of the scene? Is there a counterweight system with arbors or a pin rail with sandbags? Keep in mind that the overall suspension affects the deterioration of both the fabric and painted composition. Understanding the original materials and display are crucial in identifying and locating appropriate and compatible materials for any repair.

            WHERE was the artifact manufactured? Location can help identify a specific construction and painting process. Certain regions adopted unique approaches to scenic art, often based upon the influx of immigrants. Scenic art in the United States began as a large melting pot of languages, traditions and techniques, with two dominant approaches emerging between 1850 and 1900. At this time American scenic artists primarily worked with opaque washes, thin glazes, and later a combination of the two. These artistic influences are still recognizable today across the country. For more information, read my recent article, “American Scenic Art: The Immigrant Contribution,” in TheatreInitiative Berlin’s Die Vierte Wand #110. Itavailable for free online https://archive.org/details/itheam_d4w-010_202009,

or downloadable as a pdf https://issuu.com/itheam/docs/itheam_d4w-010.

Throughout the twentieth century the American scenic art world continued to change, incorporating new products and methods into the painting process. As an industry many American scenic artists shifted from painting on vertical frames to painting on the floor. A backdrop painted in 1929 and another painted in 1940 may seem light years apart when examining construction, materials, painting techniques and operation.

2. MATERIALS AND PRODUCTS TO AVOID DURING RESTORATION

Restoration is for the long term. Unlike the ephemeral nature of scenery for a short-run show, certain materials and techniques to repair historic scenery should be avoided. Use common sense and think of the big picture; one beyond a quick repair. Select techniques that are reversible and will not permanently alter the artifact. Some methods to patch and repair contemporary drops are not always an option for historic ones. Below is a list of specific materials and techniques that should never be used on historic scenery or fragile fabric:

Metal: Sheet metal is never an option to patch fabric. The weight and sharp edges pose a threat and the rivets puncture the fabric.

Plaster: Plaster on fabric adds too much weight and the painted composition will stretch an irreparable amount.

Hot Melt Glue: This product embeds itself in the fibers and is irreversible, while adding unnecessary weight to the area. Hot melt glue should never be considered when repairing fragile fabrics or historic scenery. It is also an accelerant, posing a fire hazard.

Wood Glue: This product is too brittle to use on soft goods. It was also never intended for fabric; it’s for wood.

Wood Putty: This product was never intended for use on fabric. Again, it is for wood and too rigid for repairs.

Masonite: The weight of any wood or composite material glued to the back of drop or flat causes stress and will irreparably stretch the surrounding area.

Contact Cement: This is an irreversible and a solvent-based product that should not be used on historic scenery. It poses a fire hazard.

Flexible Foam: This product should not be glued to historic scenery at all.

Plastic and plastic netting: Plastic should never pair with historic or fragile fabric for many reasons. In regard to plastic netting, the rigidity will harm the fabric. Look for all-natural cotton fabrics and nettings.

Do not replace wooden battens with pipe pockets: Replacing wood battens with pipe pockets always fails. Piercing the fragile fabric creates a weakness; adding weight on that weak area works like a perforated page. It will eventually tear off.

Do not patch the front and sewn fabric patches: Sewn patches are seldom a solution, as piercing the fabric introduces additional weakness to damaged areas. Also, all patches should be applied to the back of pieces, never the painted front.

Do not consolidate paint with a reflective product: Dusting pigment is a problem with historic scenery, as the original binder begins to break down over time. Humid environments and water damage can accelerate this process. Consolidating loose pigment is the only option to minimize airborne particles, especially those that may be dangerous. The original binder for the paint was an all-natural, water-based product with a completely matte finish (hide glue). If you substitute a contemporary product, it should never leave any type of sheen to the surface or darken the original color. Even when the label says “matte” or “flat” it may still reflect stage lights.

Do not a different artistic medium on historic scenery: A new paint product should never be introduced for in-painting or overpainting on a historic drop. The color and finish will not match the original paint product, especially under the glare of stage lights. Oil pastels, markers, hobby paints, crayons and even contemporary scenic paint should not be used when restoring scenery that was originally painted with dry pigment and diluted hide glue.

Do not use flame-retardants on historic scenery:

Fire retardant chemicals irreparably damage historic scenery, harming both the fabric substrate and the painted composition. The original fabric discolors over time and becomes brittle. The painted surface will also crack, eventually flaking off.

The following was created by the director of Curtains Without Borders, Chris Hadsel:

“The attached amendment was passed by the National Fire Protection Association Technical Committee on Cultural Resources in September 2007.  The amendment is to the National Fire Protection Association (NFPA) 101 Life Safety Code, NFPA 909: Code for the Protection of Cultural Resources Properties – Museums, Libraries, and Places of Worship.  The revised code was approved in 2009.  You should be aware of the following standards and you should work with your local fire marshal to be sure that you are in compliance.

 There are two aspects of this amendment that you should be aware of:

1. As historic artifacts, a destructive burn test and/or the application of fire-retardant chemicals are not recommended by accepted preservation practice.

2.  However, in order to qualify for an exemption to Life Safety Code #101, the following  safeguards must be implemented.  These include, but are not limited to:

Prohibition of open flames (i.e. candles, lamps, and smoking)

Avoiding the use of heat producing appliances such as food and beverage preparation equipment within the room

Adding a fire watch during events when there are large groups of people

A recommendation to replace light bulbs on stage with cool burning lamps such as a fluorescent or LED, with no lights, electrical devices or cables located with 1 meter of the historic artifact.

Appendix 11.2.4

11.2.4:  Fire-retardant treatment of historically significant fabric shall not be required where such treatment will cause damage to the fabric.  This provision shall apply only on an object-by-object basis and where alternative protection measures are approved.

Where historically significant artifacts such as painted stage drops, tapestries and antique flags are displayed in public gathering places there is a need to balance fire and life safety requirements with the preservation needs of the artifacts.  Life Safety Standards including NFPA #101 Life Safety Code mandate fire retardant treatments for fabrics that are used in gathering places, with NFPA 701 Standard Method of Fire Tests for Flame Resistant Textiles and Films referenced as a test protocol.  NFPA 701 requires a destructive burn test of a fabric sample to verify compliance with the standard however this action will cause permanent damage to the material and is not recommended by accepted preservation practice.  Additionally, specific chemical treatments that may be applied to reduce combustibility may also result in irreversible harm fabrics.   None-the-less there is a need to protect artifacts and the locations in which they are housed from fire, and safeguards must be implemented for situations where artifacts are displayed in assembly spaces.  These should include but not be limited to: prohibiting open flames (i.e. candles, lamps, and smoking), avoiding the use of heat producing appliances such as food and beverage preparation equipment within the room, or adding a fire watch where the artifact is located.  The use of cool burning lamps such as a fluorescent or LED within the space is recommended with no lights, electrical devices or cables located within 1 meter (3 ft) distance of the artifact.  The placement of a combustible artifact within an assembly space should be approved by the authority having jurisdiction.   The AHJ should consult with disciplines that have expertise in preservation and protection of artifacts.”

Understanding Painted Illusion for Historic Theaters

It is crucial to understand painted illusion for nineteenth-century and twentieth-century stages when planning the preservation of historic scenery. Painted illusion was used in a variety of venues, including theaters, opera houses, cinemas, music academies, city halls, schools, lodge rooms, armories, coliseums, and hippodromes. None of it was intended to be viewed up close, or on a museum wall.  

Many extant backdrops were produced as part of a set. There would be a combination of backdrops, cut drop, leg drops, and borders, or wings, shutters, roll drops and borders. Flat profile pieces were added for painted dimension. A proscenium opening with painted grand teasers and tormentors were often permanently positioned to frame the onstage setting.  The level of detail for each painted piece shifted as the scenes were positioned from upstage to downstage.

Before you decide to formulate a maintenance plan or the restoration of any historic scenery, understand the past; past materials, past techniques, past stage systems and past venues. All provide much needed information. Choosing an appropriate path for any scenery maintenance or restoration is akin to the saying, “measure twice, cut once.” In almost every case you have only one opportunity to do this right.

Here is a link to my youtube video about the topic:

https://youtu.be/unynO7VJzNg