Waszut-Barrett Scenery Documentation – Page 2

Travels of a Scenic Artist and Scholar: Edmund Handby’s Act-Drop for Victoria Hall in Settle, England.

Victoria Hall is listed as one of the first purpose-built music halls in the UK.

The music hall was built by Rev. James Robinson, a local philanthropist and secretary of the Settle Choral Society. From its inception, the hall was constructed for both public instruction and entertainment.

The formal opening and dedication of the building took place on Monday. Oct. 11, 1853. Celebratory events included a performance of Haydn’s Creation, featuring vocalists and instrumentalists from choral societies in Settle and Leeds.

Over the years, Victoria Hall hosted a variety of entertainments that included caricaturists, ventriloquists, magicians, and even P. T. Barnum side-show acts. Local groups also met in the building, including the Settle Mechanics’ Institute. Mechanics’ Institutes were educational organizations formed for the betterment of society through instructing individuals in various trades and subjects.

By the 1879, Settle’s Music Hall became home to the Settle Amateur Dramatic Society. It was this group that likely fueled the demand for the 1882 Act-drop curtain, currently on display. Painted by Society member, Edmund Handby (1850-1918), a local artist and performer. Dozens of newspaper accounts recount Handby’s skill as a painter, comedian, vocalist (tenor), and instrumentalist (coronet player).

It was the discovery of Handby’s Act-Drop, combined with the revelation of the painted proscenium arch, that helped guide the most recent building renovation. The Victoria Hall backdrop received a grade II listing and is believed to be one of only five similar surviving in England.

Covered in a layer of dust, the act-drop had been stored for decades above the rafters. Storing scenery above the stage, above an auditorium, or in the distant recesses of a theatre is not uncommon.

*1879 Scenery currently stored above the rafters at the Tabor Opera House in Leadville, Colorado. It is currently inaccessible, but safe for the time being.*

When painted scenes became damaged, or were deemed unnecessary, there remained individuals who understood the cultural significance of each artifact. These people, whom I consider to be the first generation of stewards, helped preserve historic stage artifacts by storing them in hard-to-reach locations. If an artifact was difficult to access, it was less likely to be thrown out on a whim.

*Painted detail of Comedy Mask on Edmund Handby’s Act-Drop at Victoria Hall, Settle.*

*Painted detail from central composition on the Act-Drop by Edmund Handby*.

In addition to the discovery of the Act-Drop, Victoria Hall’s painted proscenium arch was also revealed in the 1990s when a chunk of plaster fell away during the redecoration.

*The altered interior of Victoria Hall*, concealing the painted proscenium arch.

The painted proscenium arch is quite stunning; a glimpse into an era when decorative ornament was not always dimensional.

*Painted Proscenium Arch above the Edmund Handby Act-Drop.*

*Painted detail from Proscenium Arch at Victoria Hall, Settle.*

Side note: Although no one is currently credited with proscenium arch painting (c. 1909), it is very possible that it is from Handby’s brush. I am not convinced that someone else would have been asked to paint the arch if Handby was still painting in Settle at the time. I also look at the fringe and tassels (despite their being recently restored), and see a similarity in style – but with the experience of time.

*Painted detail on Edmund Handby’s Act-Drop for Victoria Hall, Settle.*

The discovery of culturally significant artifacts can often generate community support. In 1994, there was discussion about adequate community facilities for leisure and recreation in Settle. The choice was either to build an entirely new community center or “rehabilitate” Victoria Hall.

Settled Victoria Hall Ltd was established in 1999, and now holds a 99-year lease from Craven District Council. Despite the building’s derelict state at the time, funds were secured to renovate Victoria Hall. The restored venue reopened on March 3, 2001.

There are two lovely scrapbooks about the history of Victoria Hall; graciously shared by Finance & Marketing manager, Josie Guthrie.

It was Guthrie gave us full access to the hall on August 4. Mike Hume fully photographed the space, so more information will be published at Historic Theatre Photography. I will provide a link HERE when it is ready.

This post focuses on life and career of Edmund Handby, as well as his large-scale artwork for Settle’s Music Hall in 1882.

I will start with Handby’s act-drop. The subject is based on an 1822 artwork by George Nicholson. Here is the image included in the Victoria Hall scrapbook:

*Original composition created by George Nicholson depicting Settle, 1822,* *In the Victoria Hall Scrapbook.*

Here is a color lithograph available online at Rare Old Prints

*A color lithograph of George Nicholson’s print available at Rare Old Prints.*

The composition features the Settle market place in the 1820s. Elements identified in the painting are The Shambles (far left), the Old Tollhouse (pictured center and later demolished to make way for the town hall), and Castleberg Rock (although exaggerated, pictured in the distance).

*Painted detail from Edmund Handby’s Act-Drop for Victoria Hall, Settle.*

*Act-Drop painted by Edmund Handby in 1882.*

There is one other thing that caught my eye beyond the composition – the fabrc. It was constructed with standard drill cloth. I have only encountered this type of fabric in stage scenery once before – at the Tabor Opera House in Leadville, Colorado. The Standard Drill cloth was manufactured by Stark Mills, Manchester, New Hampshire, USA.

*Detail of fabric used in the Victoria Hall Act-Drop.*

*Detail of drilling cloth used for scenery at the Tabor Opera House in Leadville, Colorado, c. 18*79

Standard Drilling cloth, manufactured at cotton mills, was popular for lining used in skirts, pants, and jackets. In rural communities, it was readily accessible to use for theatrical scenery. For more information about this type of fabric, here is my post about Stark Mills standard drilling cloth.

The Victoria Hall scrapbooks have a section devoted to Edmund Handby, identifying him as an “Operatic Stalwart.” Dressed up as Stephen in Iolanthe, he certainly looks the part!

*Page in Victoria Hall scrapbook about Edmund Handby.*

Here is a better photograph of his image in the scrapbook:

*Edmund Handby as Stephen in* Iolanthe, *1895.*

Before I get into the details of Handby’s life and career, I want to place his life within the context of a much bigger picture – that of rural scenic artists in both the United Kingdom and United States.

Handby represents the majority of scenic artists working from the early-to late-19^th-century. These small-town scenic artists poured both their time and talent into so many local and regional endeavors. They were essential members of the community, who, in most cases, were extremely active citizens. The participated in the majority of public events and entertainments. These scenic artists were integral to rural communities with entertainment halls. Local heroes one could say. Although most never received any national recognition (as they were not associated with major metropolitan venues), their contribution certainly deserves mention in history books.

Small stages across the country offered many aspiring artists an opportunity to showcase skill. Scene painting projects provided an opportunity to be heralded and respected by their community, and in some cases region. Artists such as Handby took on a variety of projects, working as decorative artists, sign writers, carriage painters, glaziers, chemist, and plumbers. Their contributions were very, very visible to the general public. Many local artists also taught painting classes and sold their small-scale artworks at local stores and events.

Rural scenic artists often fully embraced every aspect of the production too – music, performance, and management. They contributed in so many different ways to numerous amateur groups, including dramatic societies, operatic societies, orchestras, bands, fraternities and other social organizations.

Here is Handby’s tale…

Edmund Handby was born in Bentham, Yorkshire, England, in January 1850. Some of his descendants indicate that he was nicknamed “Ted” by family and friends. Handby was the youngest of three sons, born to James Handby (1816-1874) and Ann Tomlinson (1809-1871). His older brothers were John Handby (1841-1918) and James Tomlinson Handby (1846-1897).

Their father tried his hand at a variety occupations over the years, working as a constable, quarryman, and gardener. Gardener seems to have been the one that eventually stuck. A few interactions and court cases published in local newspapers suggest that James Handby Sr. was quick to temper and little foul-mouthed. That being said, it is it hard to judge a person, or the dynamics in a small town, when so much time has passed. However, when you look at the whole of a family, you can see that something was at play. It may not have been the easiest upbringing for the Handby children. I am only going to mention his two brothers at this time.

Edmund’s oldest brother (John Handby) was apprenticed as a Plumber and Glazier by 1861, although he was still living at home with Edmund and his parents. By the way, this is the same trade listed by George Rivers Higgins in a past post (scenic artist of the woodland scene, Georgian Theatre, Richmond).

Edmund’s brother James Tomlinson Handby was out of the family home by 1861, despite his young age. He was likely placed as an apprentice at little father away. James Handby Jr. became a tailor by trade, but died relatively young. He passed away at the age of 52 yrs. in 1897. The cause of death was listed as “suicide during temporary insanity.” James Jr. shot himself.

Little is known of Edmund Handby’s formative years in Settle. The Handby family were still living in Settle. On Oct. 8, 1863, The Bradford Observer listed his father “James Handby, gardener, Settle” as contributor for a gift to the Rev. M. Wood, Second Master of Giggleswick School. The gift was a Tea and Coffee Service, Salver and Purse containing 200 guineas.

Three years later, his son made the news.The first mention of Edmund Handby has to do with a tragic railroad incident.

On August 18, 1866, The Lancaster Gazette reported, “The Windermere Excursion Train Accident – Our usually quiet little town was thrown int a state of great excitement on Wednesday when the news came that an accident had happened to the excursion train which had that morning taken a great many passengers from Settle and Windermere. Those who had friends or relatives amongst the passengers were concerned to know whether that had escaped injury, and several persons met the train at the station on its return to learn the truth. Then, and not till then, it was ascertained with certainty that no Settle persons had been seriously injured, except a young man of the name Edmund Handby who got badly hurt about the head, and was brought home by an earlier train and placed under medical care. Very many were more of less bruised, and among them were the following, who were more seriously injured than the rest, viz.: Mr. Michael Wilson, the young man Handby, a son of Mr. Greenwood, grocer, Mrs. Perfect, Miss Clayton, and Mrs. J. Brennand. All, we are glad to hear, are going on favorably.” This places the Edmund Handby and his family in Settle, between 1863 and 1866 when Edmund entered the painting trade as an apprentice.

*Painted detail on Act-Drop curtain by Edmund Handby, 1882.*

Here are two articles that mention Handby’s social activities before he settled down in 1872. On Feb 27, 1869, The Lancaster Gazette announced that in Settle, the Band of Hope had sponsored a Music Hall entertainment. Readings, recitations, speeches and songs were presented by various local citizens, including Handby who sang (with chorus) Eulalie.

On Dec. 10, 1870, The Lancaster Gazette listed Handby as performing a coronet Solo -Air with variations – for another Band of Hope entertainment at the Music Hall.

That is pretty much the extent of Handby’s activities published in local news prior to his marriage. When he did wed a few years later, the trade of painter was listed on his marriage certificate. In 1872, Handby also listed his residence as Huddersfield in 1872, whereas his wife was living in Settle. Huddersfield was southeast of Leeds, a significant distance from Settle, but a much larger town.

Edmund married Jane Holmes on April 23, 1872, at Ascension Church in Settle. The two remained in town where Handby continued to work as a painter and decorator.

*Holy Ascension Church and cemetery in Settle. 3 August 2024.*

Edmund and Jane celebrated the birth of six children: John (b. 1875), Bertram (b. 1881), Bessie (b. 1883), Edmund (b. 1887), Annie (b. 1888) and Madeline Ellen (nd).

For larger painting projects throughout the area, Handby advertised for assistants. On May 5, 1875, Handby placed a want ad in The Bradford Observer: “TO PAINTERS. – Wanted, Two or Three good HANDS. Apply to E. Handby, Settle.

He also continued to perform, joining a variety entertainments. For example, Handby performed the song “Nina” for the Settle Cricket Club entertainment at the Music Hall in 1876 (1 Jan. The Lancaster Gazette p. 3). Overall, the majority of Handby’s social activities were included in newspapers throughout the 1880s. One in particular made me chuckle; Hanbdy performed in the William Tell burlesque. The burlesque was part of the Church Institute’s annual tea party (17 Jan 1880 The Lancaster Gazette).

The year before Handby painted Victoria’s Hall act-drop, the 1881 Census listed his household as including: Edmund (31 yrs., head), Jane (35 yrs., wife), John (5 yrs, son), Edmund (2 yrs., son) and Margaret Holmes (18 yrs., niece). Margaret would never leave the Handby home, eventually becoming their maid.

In the 1881 census, Handby was listed as a decorator and photographer. As many scenic artists at the time, photography was a natural addition to the painting trade. By now, his sons John and Edmund were 15yrs, and 12 yrs. old, respectively.

In 1881 Handby also placed an advertisement in The Daily Telegraph, inquiring: DRAPERY. – WANTED, smart YOUNG MAN, with almost three years good experience, for drapery counter, and to assist in dressing window.- Apply after six p.m. to Edmund Handby, 6, Willow-place, near Stoke Newington Station.

It does not appear that Hanby remained in the photography profession for long, soon returning to the decorative arts and performance.

Handby performed the role of “Toby Perch” in Morton’s Old Honesty. On Feb. 18, 1882 The Lancaster Gazette reported, “Mr. Handby’s comicalities both of look and gesture completely captivated his auditory, whose applause at times was nigh deafening.”

It was about this time that Handby also became quite active in the newly-formed Amateur Dramatic Society. He was credited as not only a performer, but also the group’s scenic artist (4 Dec 1880 The Lancaster Gazette p. 3).

*Stencil-work on Edmund Handby’s Act-Drop for Victoria Hall, Settle, 1882*.

1882 productions, with scenery painted by Handby, included Amateur Dramatic Society’s The Post Boy and My Turn Next. On Dec. 18, 1882, The Lancaster Gazette reported, “As on former occasions, the scene painting was done by Mr. E. Handby, and the stage effects by Mr. R. Grime. On this occasion their united labours had produced the most elaborate scenery which was universally admired.” Handby continued to perform with the group, and was in the production of All That Gliters is Not Gold in 1884. (19 Apr 1884 The Lancaster Gazette p. 6)

At the same time, Handby was also singing with Settle’s Choral Society. He sang as a tenor solist in Hadyn’s Creation (23 Apr 1881 The Lancaster Gazette p. 5) and in W. H Birch’s Robin Hood (6 May 1882 The Lancaster Gazette p. 8). On Dec. 23, the Weekly Examiner listed Handby singing at the first concert of the newly formed Holmfirth District Choral Society. The article reported, “Mr. Handby (of Settle), who is on a visit to this district, sang two recitatives and two airs with an excellent tenor voice.”

On March 3, 1883, The Lancaster Gazette reported that donations to the Royal Albert Asylum for Idiots and Imbecils of the Northern Counties, Lancaster, received “Settle – E. Handby, two framed pictures, per Cbr. Brown, hon. Local Secretary.” Side note: Keep this type of event in mind when you read my future blog about Normansfield Entertainment Hall. Handby continued to perform with choral groups throughout the 1880s. Here is one more example. On July 9, 1887, The Leeds Mercury reported that “Mr. Handby, of Settle” sand a solo at the annual North Craven Choir Union Festival at Gargrave.

Handby continued to work as a scenic and decorative artist, hiring help as needed for larger projects. On April 25, 1883, Handby placed an advertisement in The Leeds Mercury, looking for a “PAINTER and PAPER HANGER; steady man. Apply Edmund Handby, Duke-street, Settle.” By now, Handby was 33 yrs. old and doing quite well. His projects included room decor for many different social events that were planned throughout the season.

On Jan. 5, 1884, The Lancaster Gazette reported, “LIBERAL CLUB BALL – The annual ball in connection with the Settle Liberal Club was held at Drill Hall on Friday evening, 28^th ult. There was a large and representative assembly, by whom dancing was kept up with vigour and evident appreciation into the small hours of the following morning. The Settle quadrille band supplied the musical requirement, whilst Mr. Overing provided the refreshments, which gave great satisfaction. The room had been artistically decorated by Mr. Edmund Handby.”

Here is another example…On Jan. 3, 1885, The Lancaster Gazette described CHRISTMASTIDE’s Volunteer Ball at Drill Hall, noting, “The room had been most tastefully decorated for the occasion by Mr. Edmund Handby.”

Although it is easy to think of Handby as an amateur artist and performer, his career mirrored that of many well-known English and American scenic artists, as he also exhibited his fine art works.

On Dec. 13, 1884, The Lancaster Gazette announced:

FINE ART EXHIBITION. – Mr. Edmund Handby’s exhibition of oil-paintings, water-colour drawings, hand painted mirrors, and screens and other works of art, which was opened in the Assembly Room at the Ashfield Hotel on Tuesday the 2^nd instant and continued until Wednesday last has afforded genuine pleasure to the many visitors who have inspected the collection. The display of valuable oil-paintings and water-colour drawings comprise several; meritorious works which did infinite credit to the respective artists. The mirrors and screens exhibited deserve more that a passing notice, not only on account of their artistic merit but as being work of a native of Settle. It is to Mrs. McClelland that we owe the revival of this art, which was formerly practiced by the early Italian masters and used simply as a wall decoration. Now, however, Mrs. McClelland has applied it to a variety of objects which have taken prominent places in artistic English homes.

I would really love to see one of his paintings! Just to see how it compares with his large-scale scenic art.

There was also another aspect of Handby’s life that I stumbled across while doing research – he became a Freemason in 1885, joining Castleberg Lodge No. 2091, Settle. Handy was initiated on 25 June 1885, becoming a Master Mason when he was raised on Dec. 2, 1887. Grand Lodge records list Handby’s profession as a decorative artist. This could have cemented many future projects in the area.

By the 1890s, Handby began to look explore another aspect of the theatrical trade – theatre management. He applied for a theatrical license. The name of Settle’s Music-hall had become known as Settle’s Public Hall. It was mentioned in a local newspaper announcement in the fall of 1892. On Sept. 24, 1892, The Leeds Mercury announced: “The Public Hall at Settle. Mr. E. Handby has made an application for a license for the Public Hall (late Music-hall), Settle, but he did not appear in support of his application.” Later than month, on September 29, 1892, Handby was granted a theatrical license from the General Purposes Committee of the West Riding County Council for Victoria Hall at Settle. Notice the name change to Victoria Hall. The committee meeting was held at the Clerk of the Peace Offices, Wakefield, and published in The Leeds Mercury on Sept. 30, 1892. In the announcement, “Mr. E. Handley [sic. Handby]” was listed as the manager of the Victoria Hall, Settle (p. 3). Handby was still working as the hall’s manager, and functioning as its main contact, two years later. On March 30, 1894, The Leeds Mercury announced the renewal of Victoria Hall’s theatrical license, again E. Handby was listed as the manager.

Despite his work as a manger and performer, Handby’s primary income stemmed from the decorative arts. He continued to be listed as a painter and decorator until the 1911. The census that year listed Handby as a 61-yrs. old house painter. He was now a widower, living with his 23-yrs. old daughter Annie, and 48 yrs. old niece Margaret Holmes; Margaret was listed as his housekeeper.

Both Edmund and his brother John passed away in 1918. This was the same year that the world was plagued with a pandemic. Edmond died on Feb. 24, 1918.

It was the year after his passing that Victoria Hall became a cinema.

To be continued…

Travels of a Scenic Artist and Scholar: George Rivers Higgins – Plumber, Painter, and Glazier.

Woodland scene at the Georgian Theatre Royal Credited to George Rivers Higgins. From left to right: Grit Eckert, Anna Bridgeman, and Wendy Waszut-Barrett. Photograph by Mike Hume of Historic Theatre Photography.

A text panel next to the woodland scene notes that “the scenery came from the firm of George Rivers Higgins in Oxford. Higgins created stage sets to order and also kept a stock of scenery for hire.”

*Painted detail on woodland wing, credited to George Rivers Higgins.*

This basic information has been cited repeatedly, linking Higgins’ to the later form of Hinkins. Here is what was published at A History of the World :

“The Georgian Theatre (the UK’s oldest working theatre in its original form, built 1788) holds, in its display area, the oldest known theatrical scenery still in existence: the Woodland Scene. The scenery comprises 8 wooden wing flats 9ft 6ins by 3ft 6ins, 5 canvas borders and a Forest back-drop scene 13ft 1in by 10ft 2ins. All trees in the scene can be identified as specific types. On the back is painted a Blue Drawing Room, with Fire, showing a period fireplace, skirting board and panelling and a picture frame over the fireplace. The Woodland scenery was only part of a stock of 5 different scenery pieces which had been in the Hinkins family as far back as 1820. It was painted at a scene painting shop in Royston, Hertfordshire, (previously Cambridgeshire) which was set up in 1811 by a former travelling actor – George Rivers Higgins. How and why the Woodland Scene became detached from the other pieces of Hinkins scenery is not known but it was Richard Southern (a theatre architecture historian instrumental in uncovering the history of the Georgian Theatre in Richmond, North Yorks) who arranged its transfer into the care of the Theatre trustees in 1961.

While trying to track down the origin for this information, I came across the following statement in an article entitled Georgian Richmond in the theatrecrafts.com archives (https://www.theatrecrafts.com/archive/cue/cue_14_18.pdf

The article noted:

The scenery was included in “that marvelous Hayward Gallery exhibition of 1975 from whose catalogue we glean: In 1818, George Rivers Higgins, an actor and scene painter in a travelling company of players, settled in Royston and founded a decorator’s business. He became a leading light of the local Dramatic Society and was assisted and succeeded in his business by William Hinkins who had been one of His Majesty’s Servants in Norwich. By 1866 the firm of Hinkins had a large stock of stage scenery which was hired out, the nucleus of the stock supposedly being brought to Royston by Higgins in I 818.

An inventory of 1881 lists five drop scenes, three of which still exist. On the back of “The Woodland Scene” is painted a “Blue Drawing Room with Fire”, panelling and a picture over the fireplace. The flats exhibited were listed in the inventory as eight trees. This set has been frequently retouched in the last one hundred and fifty years and there are even signs that one width of canvas of the three-piece backcloth has been replaced above the second seam. The canvas of the flats appears to be original. Allowing for retouching this is the oldest scenery surviving in Britain.

The woodland scenery is now displayed in a room with a scaled down replica of a Georgian stage and is viewed under ambient lighting.”

The above excerpt was first published in a catalogue (The Hayward Gallery, 21 August to 12 October, 1975) entitled The Georgian Playhouse: Actors, Artists and Architecture, 1730-1830, written by Ian Mackintosh and Geoffrey Ashton. Mackintosh curated and designed the Hayward Gallery exhibition. Both he and David Wilmore worked as historic theatre consultants on the Georgian Theatre Royal restoration.

By this point, I was fully engaged in the story, and wanting to learn more about the lives and careers of Higgins and Hawkins. Yet, there was precious little available beyond what I have cited above.

I started with a basic Google search before turning to newspaper and genealogy databases. You could have knocked me over with a feather when this popped up: “William Hinkins, aged Thirteen Years. Binds Himself Apprentice to George Rivers Higgins of Royston. Plumber, Glazier, House and Coah Painter. For Seven Years.” The contract was dated 1828.

*Listing for contract at Abe Books, August 17, 2024.*

*A screen grab of the contract for sale, August 17, 2024.*

Timing is everything, and I immediately sent an email to both the Georgian Theatre Royal and David Wilmore (who secured the document). Then, I took a screen shot of the contract and started deciphering the text. Here is my transcription:

This Indenture Winesseth That William Hinkins aged thirteen years and upwards as well of his own free will and consent as by and with the consent and approbation of his Mother Catherine Hinkins of the Parish of Bassingbourn in the County of Cambridge widow, testified by her being a party to and executing these presents –doth put himself Apprentice to George Rivers Higgins of Royston in the County of Hertford of Plumber, Glazier, Coach and House Painter, to learn his Art and with him after the Manner of an Apprentice to serve from the day of the date hereof until the full End and Term of Seven Years from thence next following to be fully complete and ended During which Term the said Apprentice his Master faithfully shall serve his secrets keep his lawful commands everywhere gladly do he shall do no damage to his said Master nor see to be done of others but to his Power shall tell or forthwith give warning to his said Master of the same he shall not waste the Goods of his said Master – nor lend them unlawfully to any he shall not commit fornication nor contract Matrimony within the said Term he shall not play at Cards or Dice Tables for any other unlawful Games whereby his said Master may have any loss with his own goods or others during the said Term with out License of his said Master he shall neither buy nor sell he shall not haunt Taverns or Play houses nor absent himself from his said Master’s service day or night unlawfully But in all things as a faithful Apprentice he shall behave himself towards his said Master and all his during the said Term. And the said George Rivers Higgins doth hereby to himself his executor and administrators Covenant and agree to and with the Catherine Hinkins her executors and administrators and also to and with the said apprentice in consideration of the sum of ten shillings of lawful money of the United Kingdom of Great Britain and Ireland to him in hand paid by the said Catherine Hinkins and of the source of the said apprentice and the Covenant herein after contained on the part of his Mother in manner following (that to say) that the said George Rivers Higgins- his said Aprentice in the Art of a Plumber Glazier Coach and House Painter which he useth by the best means that he can shall teach and Instruct or cause to be taught and instructed Finding unto the said Apprentice Sufficient Meat Drink and Wearing Apparel [Lodging and all other Necessaries was crossed out] during the said Term and the said Catherine Hinkins for her considerations aforesaid doth hereby for herself, her heirs, executors and administrators covenant and agree to and with the said George Rivers Higgins his executors administrators and assigned that shew the Lodging Medical Attendance and all other necessaries whatsoever and save himself and keep indemnified the said George Rivers Higgins his executors and administrators of and from the same And for the true performance of all and every the said Covenants and Agreements either of the said Parties bindeth himself and herself unto the other by these Presents In Witness where the Parties above named to these Indentures [the word interchangeably is crossed out] have put their Hands and Seals the thirty first day of December and in the ninth Year of the Reign of our Sovereign Lord George the Fourth by the Grave of God of the United Kingdom of Great Britain and Ireland King Defender of the Faith in the Year of our Lord One Thousand Eight Hundred and Twenty eight.

[Signed on the bottom right side]

Geo. Rivers Higgins, Caroline Hinkins, William Hinkins

[Fine print on bottom left side: NB. The Indenture Cov’Article or Contract must bear the day it is executed and what Money or other thing is given or Contracted for with the Clerk or Apprentice must be inserted in Words at Length otherwise the Indenture will be void the Master or Mistress forfeit Fifty Pounds and another Penalty & the Apprentice be disabled to follow in the Trade or be made Free]

Well, that certainly linked Higgins to Hinkins who later takes over the business. For years, I have read about art apprenticeships, but never fully considered the legalities; a contract that was negotiated and signed, as well as the similar wording for indentured servitude. We seldom stop to think about the lengthy commitment and restrictions placed on a very young person. All goes well if the “Master” is a good person. It is also easy to see how this type of agreement could become an abusive arrangement. Hawkins was very lucky when his mother apprenticed him to Higgins.

I also want to put the profession of “Plumber, Glazier and Painter” in context. The three trades were frequently combined in early-19^th-century; even appearing as a single category in business directories.

Here is George Rivers Higgins listed in Pigot’s Directory for 1830:

*Listing in 1830 Pigot’s Directory – Royston.*

Side note: I have also found the names of several women who were identified with this trade!

In regard to the 1830 Pigot’s Directory listing, however, George Rivers Higgins and James Hawkins were working together that year (see above image). Both were listed in the “Painters, Plumbers and Glaziers” living on High Street. Hawkins had previously worked in Gloucestershire, Wales, and was listed in the “Painters, Plumbers & Glaziers” section of the 1822 directory for that area. Hawkins was still working in Royston in 1840, when his shop burned to the ground (Cambridge Weekly News 18 July 1840 p. 4).

Like me, you may be interested in the whole plumber-aspect of Higgins’ trade. When I first saw the word plumber in the apprenticeship agreement, my interest was peaked. I thought back to the responsibilities of a nineteenth-century barber, like pulling teeth and conducting surgeries.

A plumber’s trade is described in numerous nineteenth-century manuals, all identifying the tradesmen as individuals who were responsible for the casting and working of lead. Here is an 1806 illustration of a plumber from The Book of Trades, or Library of Useful Arts, Volume 1. This illustration and a few other interestingly tidbits can be were included in The Plumber’s Craft in Past Times

1806 illustration of a plumber from *The Book of Trades, or Library of Useful Arts,* Volume 1.

The grouping of plumber, painting and glazier now made much more sense to me, as all three fell within the realm if chemistry. Also, painters and paint manufacturers handled great quantities of lead for many projects. I have frequently come across nineteenth-century scenic artists who got their start as a chemist or druggist.

This combination of trades that overlap also speaks to a diversification of skills to maintain and adequate workload. Even now, stability of employment can be based on a diversity of skill. This was key to the successful careers of many 19th and 20th century scenic artists.

In my mind, I could easily understand why Catherine Hinkins (1786-1875) apprenticed her 13-yrs.old son William to George Rivers Higgins. For further context, in 1828 Catherine was also at a turning point, having lrecently become a widow. On Sept. 5, 1827, Joseph Hinkins (b. 1789) passed away, leaving Catherine with three children to raise (William, Elizabeth and Lydia). I found baptismal records for each, but there may have been more children.

Back to the story…at 13 yrs. old, William Hinkins was apprenticed to 38 yrs. old George Rivers Higgins.

When all was said and done, Catherine made a good choice; Higgins was beloved by the community in Royston. Here is what the Amateur Musical Society published in local newspapers when Higgins passed away in 1861:

His love of art was unbounded; his generosity was ever active; and his influence for good in the noble cause of music was exercised and felt in Royston during a period approaching half a century.

This also suggests that Higgins moved to Royston sometime after 1811, as he had not quite reached the 50 years mark as a citizen. As far as William Hinkins was concerned…

In 1835, William completed his apprenticeship, continuing to work for Higgins for at least the next eight years. In 1843, Hinkins married Maria Howard (1813-1888) in Royston on October 26, 1843. The couple raised at least five children between 1848 and (William Howard, Louisa L., Clara Maria, Francis Robert, and Jane A.).

William Hinkins, Sr. became “heir apparent” to Higgin’s business, with his two sons, William Howard Hinkins and Francis R. Hinkins following in his footsteps. Hinkins ran a thriving business, and by 1871 was employing fifteen men and two boys. So who was George Rivers Higgins?

Here is what I have tracked down about his life and career…

George Rivers Higgins was the son of George Higgins and Harriot Annett. His parents were married at St. James Westminster, Piccadilly, London, on April 24, 1783. On March 7, 1786, they celebrated the birth of their first child – Mary Higgins. On January 2, 1889, the celebrated the birth of Sarah D. Higgins, with George Jr. Higgins arriving on 23 May, 1790. All three baptisms were registered at St. George, Hanover Square, in London.

George Higgins, Sr., worked as a chemist (druggist) in London. This makes so much sense in terms of why George Rivers HIggins became a plumber, painter and glazier. The chemist/druggist trade that was intimately linked to paint production in the 18^th, 19^th, and even early 20^th, centuries.

Here is just one example to illustrate my point – a charming letterhead from Philadelphia, Pennsylvania, c. 1901.

Painting has always been closely connected with chemistry. Whether it was in the actual creation of a paint, or how certain colors interacted, artists must intimately understand what they are handling, or their paintings fail over time.

Chemistry meant that the paint industry often partnered with other trades, even undertaking. Here is a photograph that has always makes me chuckle – decorative painting and funeral supplies.

*Photograph from the Okanagon Historical Society, Washington.*

Both trades used many of the same chemicals.

Now, I have spent quite a bit of time going down one particular rabbit hole that concerns the life and career of George Higgins Sr. Maybe a little too much time…

I have looked as various individuals with the name, cross-checking the locations and dates. I think that his father was one of four London Correspondence Society (LCS) members charged in a plot to assassinate the King. The plan to shoot the King in the neck with a poisoned dart, thus becoming known as the Pop-Gun Plot.

George Higgins (Sr.), Paul Thomas LeMaitre, John Smith and Thomas Upton were arrested in the fall of 1794. Robert Thomas Crossfield was arrested the following summer. Although LeMaitre, Smith and Higgins spent time in Newgate prison, there was insufficient evidence to convict… and… the chief witness was dead.

George Higgins (Sr.) was acquitted in May 1796. Here is a recent article about the event published on May 11, 2024 to Past Tense: https://pasttense.co.uk/2024/05/11/today-in-london-spycops-history-1796-popgun-assassination-plot-frameup-defendants-acquitted/

The dates of the Pop-gun Plot match the George Rivers Higgins family timeline, including their move tp the country. Later in 1796, newspaper articles referred to Higgins Sr. as “George Higgins, late of London.” Now this also may have been the reason why George Higgins, Jr. consistently used his middle name, going by George Rivers Higgins and G. Rivers Higgins throughout his career.

Previous historians suggest that George Higgins Jr. joined up with a theatrical touring group, settling in Royston about 1811. The earliest mention in local newspapers that I have come across is his marriage announcement from eight years later. On Oct. 13, 1819, Higgins married Ann Smith (b. 1796). Their marriage was announced in local papers, listing the couple as “Mr. George Rivers Higgins, painter, of Royston, to Miss Smith of the same place.”

Other than directory listings and census reports, George Rivers Higgins’ name seldom made news. However, the year before he accepted William Hinkins as an apprentice, Higgins placed the following advertisement in The Cambridge and Hertford Independent Press (19 May 1827):

To Plumbers, Painters and Glaziers. Wanted, in a constant place of work, a steady Man who thoroughly understands the above three branches. Apply if by letter (post-paid) to G. R. Higgins, Royston, Herts. A Reference will be Required.

Higgins was consistently listed in Pigot’s Directory for Cambridgeshire (Royston), often one of four or more individuals listed in the “Painters, Plumbers, and Glaziers” section.

Census reports list George and Ann as a childless couple in Royston. Although they did not celebrate the birth of their own children, George Rovers Higgins was cherished by his wife’s family. Ann’s older brother, George Smith (1791-1869), even named his second son Rivers Richard Smith (b. 1841). His first son was named George Smith. The two families remained extremely close over the years, and it was Rivers R. Smith who settled Ann Higgin’s estate upon her passing. Rivers Smith followed his own father’s footsteps, working as a Wine and Seed Merchant in Royston.

George Rivers Higgins was quite active in Royston’s Mechanic’s Institute too. On Dec. 10, 1842, the Hertfordshire Mercury reported:

Royston Mechanic’s Institute – A very interesting lecture on the varieties of the human race was delivered at the British School-room, on Wednesday last by R. G. Latham, Esq., A. M., Fellow of King’s College, Cambridge, and Professor of English literature, in University College, London. After a lucid description of the physical peculiarities which distinguished the different tribes f our species from each other, as displayed in the varied conformation of the skull, the colour of the skin and eyes, the nature of the hair, &c. Mr. Latham gave an eloquent and highly interesting sketch of the origin, the geographical position, the history, the language, the intellectual progress and discoveries, the present state, and probably future political destiny of the great classes of mankind. The lecture was illustrated by a series of beautiful designs representing the most striking varieties of the form of the skull, together with characteristic portraits of individuals belonging to some of those tribes least known to the audience, as the North American Indian, the Malay, &c. These drawings were gratuitously executed expressly for the lecture by one of the members of the Royston Mechanics Institute, Mr. George Rivers Higgins, to whose talent and liberality they do equal credit.

In 1851 Census, Higgins listed that he employed two men and two boys. At the time, he was 61 yrs. old, and doing quite well; successful enough to employ two servants in his home.

In 1855, the Post Office Directory still listed him as a plumber, painter and glazier, situated in the same home/work address on High Street. He passed away six years later, just before the census was taken. The 1861 Census listed Ann Higgins living along with a cook and servant. She died three years later.

When George Rivers Higgins passed on Jan. 27, 1861, he left an estate valued under £1500. The English & Wales National Probate Calendar listed, “The will of George Rivers Higgins, later of Royston in the County of Hertford. Coach and House Painter deceased who died 27 January 1861 at Royston aforesaid was proved at the Principal Registry by the oath of Ann Higgins of Royston aforesaid Widow the relict the sole Executrix.”

Ann didn’t outlive her husband by much, passing away three years later. On Feb. 20, 1864, the Cambridge Weekly News reported, “Higgins – Feb 17, at Royston, after many years suffering, borne with exemplary patience and resignation, Ann, widow of the late George Rivers Higgins, in her 73^rd year.”

Her listing in the National Probate Calender reported:

March 10, 1864. The Will with a Codicil of Ann Higgins late of Royston in the County of Hertford. Widow deceased who died 17 February 1864 at Royston aforesaid was proved at the Principal Registry by the oaths of Rivers Richard Smith of Royston aforesaid Wine and Seed Merchant, the Nephew and Spicer Crowe of the Town and Country of Cambridge Gentleman the Executors. Effects under £800.

George Rivers Higgins’ name was mentioned again when their property sold in 1870. On Jan. 22, the Cambridge Weekly News announced:

Royston, Herts. Messrs. Nash & Son are instructed by the Proprietor to SELL BY AUCTION, on Wednesday, 26^th January, 1870, at the Bull Inn, Royston at 4 for 5 o’clock. Those very Eligible Freehold Business Premises, situate in the High-street, Royston, in which the Painter’s, Plumber’s, and Decorator’s business was for many years carried on by the late George Rivers Higgins, comprising Front Shop, with double show windows; dining-room and kitchen offices, paved court-yard, with passage entrance on the ground floor; good cellarage on the basement; dining-room, with bow window, 4 bedrooms, W. C., paint-shop, and office on the upper floors. May be viewed on application to the tenant, Mr. William Hinkins. Particulars and conditions of sale may be had at the place of sale; Mr. Henry Baker, Solicitor, Bishop Stortrord, and the Auctioneers, at Royston and Buntingford, where plans of the property may be seen.

This paints a pretty good picture of Higgin’s home and workplace. It also brings William Hinkins back into the picture as he was the current tenant.

Between the 1861 and 1871 census reports note that Hinkins painting business grew. It expanded from employing two men and two boys in 1861 to employing fifteen men and two boys in 1871. This is quite an expansion of staff. His success, however, was very short-lived.

William Hinkins passed away on Sept. 11, 1878. He is buried with his wife and daughter in the Royston Cemetery.

*Gravestone of William Hinkins, Maria Hinkins, and their daughter.*

William’s two sons, William Howard Hinkins and Francis Robert Hinkins, inherited their fathers Plumbers, Painters, and House Decorators business. In 1881, the staff consisted of seven men and two boys. Hinkins legacy continued, as his grandsons also continued the family trade.

The story doesn’t end here, but this is my stopping point.

To be continued…

Travels of a Scenic Artist and Scholar. The Georgian Theatre Royal, Richmond, England.

On Saturday afternoon Mike Hume, Grit Eckert, and I had an afternoon appointment at the Georgian Theatre Royal in Richmond, England.

*The Georgian Theatre Royal in Richmond, England. 3 August 2024.*

*The Georgian Theatre Royal. 3 August 2024.*

*The location of the Georgian Theatre Royal in England.*

*The Georgian Theatre Royal auditorium. 3 August 2024.*

Prior to our visit, I watched The Georgia Theatre Experience to familiarize myself with the venue.

Built by actor-manger Samuel Butler in 1788, the building is nestled near the center of Richmond. A small alleyway leads from the town square to the stage door.

*Alleyway that passes the stage door. 3 August 2024.*

Like many historic playhouses, time took its toll on the building with areas becoming derelict over the years. Fortunately, the theatre was restored, reopening in 1963. A museum was later added in 1979.

Here are a few photographs of the building from our visit. That being said, when Mike finishes his write-up about this building, and posts it to Mike Hume’s Historic Theatre Photography there will be a link HERE.

*Mike Hume on the miniature fly floor of the Georgian Theatre Royal. 3 August 2024.*

*The Georgian Theatre Royal. Photograph by Mike Hume of Historic Theatre Photography.*

*The Georgian Theatre Royal* on 3 August 2024.

*The Georgian Theatre Royal. Photograph by Mike Hume of Historic Theatre Photos.*

*The ceiling of the Georgia Theatre Royal. 3 August 2024.*

*Folding grooves for wings on the stage at the Georgian Theatre Royal.*

After exploring the stage, we went below to see remnants of old stage machinery on display and the dressing room area.

*Stage machinery and footlights on display below the stage of the Georgian Theatre Royal.*

*A trap below the stage of the Georgia Theatre Royal.*

Anna Bridgeman, Heritage and Administration Manager at the theater, gave us a private tour of the building, museum, and archives. She was an absolute delight to have as a tour guide!

*Anna Bridgeman pictured near a woodland wing in the museum at the Georgian Theatre Royal.*

The main purpose of our visit was to see the woodland scene. It purported to be “Britain’s oldest surviving stage scenery” by George Rivers Higgins, c. 1836.

*The woodland scene on display in the basement at the Georgian Theatre Royal.*

Recently, The British Museum and BBC published the following in an online article:

The Georgian Theatre (the UK’s oldest working theatre in its original form, built 1788) holds, in its display area, the oldest known theatrical scenery still in existence: the Woodland Scene. The scenery comprises 8 wooden wing flats 9ft 6ins by 3ft 6ins, 5 canvas borders and a Forest back-drop scene 13ft 1in by 10ft 2ins. All trees in the scene can be identified as specific types. On the back is painted a Blue Drawing Room, with Fire, showing a period fireplace, skirting board and paneling and a picture frame over the fireplace. The Woodland scenery was only part of a stock of 5 different scenery pieces which had been in the Hinkins family as far back as 1820. It was painted at a scene painting shop in Royston, Hertfordshire, (previously Cambridgeshire) which was set up in 1811 by a former travelling actor – George Rivers Higgins. How and why the Woodland Scene became detached from the other pieces of Hinkins scenery is not known but it was Richard Southern (a theatre architecture historian instrumental in uncovering the history of the Georgian Theatre in Richmond, North Yorks) who arranged its transfer into the care of the Theatre trustees in 1961.

Today’s post solely focuses on a portion of the three scenic pieces currently on display. Here is a link to see the scenery in its entirety before it was removed from the stage area, preserved, and stored.

Only the woodland backdrop and two double-painted wings remain on display in the basement of the Georgian Theatre Royal. They are all well-lit and encased in glass cabinets. This makes it easy for visitors to examine without threat of harm, but difficult to photograph as a scene.

*Woodland scenery on display at the Georgian Theatre Royal.*

I am not going to address the conservation team’s historical analysis of the scenery or the preservation. All of the reports were shared with us during our visit and I have spent hours contemplating the final conservation process.

I am going to share my own thoughts on the manufacture and the artist who is credited with the work. By the way, my next post will solely look at the life and career of George Rivers Higgins. Higgins is credited with the woodland scene.

*Painted detail of the woodland scene, purportedly by George Rivers Higgins, c. 1836.*

The backside of woodland wings is painted with two different interior settings, This was a common practice throughout the 19^th century. The interior subjects would have been labeled a plain chamber (SL) and a parlor interior (SR).

*Interior paintings on the backside of two woodland wings on display at the Georgian Theatre, Richmond, England.*

*The backside of SR wing on display in the museum.*

These themes were two standard stock scenes for nineteenth-century stages in English and American theaters. Whether for small halls or large opera houses, stock scenery was purchased when a stage was constructed or renovated. Stock scenes offered standard settings used in many productions.

This practice continued throughout the 19^th century and well into the 20^th century. Here is an example of stock scenery offerings from 1889:

*1889 Sosman & Landis Scenic Studio catalogue offering three grades of stock scenery, often based on the size of the stage.*

Double-painted wings are not an anomaly. I have documented dozens in North American. Here is an example from the Tabor Opera House in Leadville, Colorado, c. 1879.

Double-painted wings makes complete sense, especially from a financial perspective. It was a practical way to conserve stage space while offering more options for productions.

The back side of a wing wasn’t always covered with cloth before painting the second composition. In some cases, the frame remained entirely visible under a coat of paint. Here is another example from the Tabor Opera House in, Leadville, Colorado.

*Backside of a double-painted interior flat where the framing is clearly visible beneath the paint. Tabor Opera House, Leadville, Colorand.*

This remained a standard practice into the early-twentieth century, especially for interior sets.

*Backside of double-painted interios setting by Victor Hubal, Sr. for the CSPS Hall in St. Paul, Minnesota, c. 1917.*

We were fortunate to have Anna open the display case opened at the Georgian Theatre Royal, and provide me with a stepladder. This meant that I could examine scenic art details.

*Documenting details. The Georgian Theatre Royal. Photograph by Mike Hume of Historic Theatre Photos.*

Without this type of access, I could have never identified a hidden composition. Upon close inspection (and without the glare of the glass) remnants from an earlier interior painting (on the backside of the woodland wings) was clearly visible.

*Previous interior scene visible after paint loss.*

As in many cases, the actual wing fabric and frame predate the current painted composition. Again, this could be work of two entirely different artists.

The build-up of paint on the fabric suggests also suggests multiple layers, not just two compositions.

The underpainting suggests that the previous painted composition included an onstage column, perched atop a base; the column and base emulating a type of granite.

I have identified underpainting on extant scenery before; no special machinery required, just a keen eye and photoshop.

When examining a grayscale image of the painted details and playing with contrast, numerous details suddenly become visible. Here is a quick example with white lines (in the right image) to show an underlying composition.

*Grayscale of same wing showing clear indication of pervious composition – a column and paneling.*

Here is an 19th century example of what the underlying composition could have looked like.

19th-century example of what the interior wing composition may look like under the top coat of paint;

Keep in mind, that it was a common practice to touch-up, re-paint, and physically alter stock scenes (both framed pieces and soft goods).

In many cases used/old scenery was taken back on as credit for the purchase of new scenery. The used scenery was then enlarged and/or refurbished for another venue.

I noticed that the woodland backdrop has fabric extensions on both the top and the sides, suggesting that it was enlarged before a the artist painted the woodland scene.

*Stitching for fabric extension on top and sides of original backdrop.*

Even when historic records suggest that an original piece of scenery was painted by a specific individual, the entire scene may have been refurbished/repainted by another artist (local, or visiting) at a later date. Stage managers frequently directed artists to refresh the painting when scenes began to show some wear (about every 5-10 years).

So the woodland scene may have been originally painted delivered as a landscape, but the top painting concealed much of the original artist’s work. This makes it extremely difficult to date and/or determine the actual creator without a signature – UNLESS there is a paper trail that clearly notes who refurbished the scenery during a specific period.

Only ONCE, have I been able to track down a newspaper article that mentioned a specific artist painting new scenes on existing stock flats (ones that still existed). This was at the Tabor Opera House in 1888 when Frank Cox painted new scenes on the original shutter frames, dating from 1879.

*1879 shutters re-painted by T. Frank Cox in 1888. Tabor Opera House, Leadville, Colorado.*

Painted detail from a second set of shutters painted by 1888 composition by T. Frank Cox for the Tabor Opera House in Leadville Colorado.

While examining the shutters by Cox and the wings by Higgins, I was struck by their similarity. The two sets of Cox shutters are very similar in compositional layout to the woodland scene at the Georgian Theatre Royal. Here is a detail of from Higgins’ painting with a similar trunk to compare with that by Cox above.

*Painted detail from the woodland scene at the Georgian Theatre Royal, Richmond.*

There is something about the 1836 date for the woodland scene that doesn’t sit right with me, making me wonder when the last coat of paint was actually applied.

There is no doubt that the framework and fabric were manufactured in the early 19th century, but I wonder about the final painting. It is now very difficult to judge, as the sealer used during conservation work (for paint consolidation) adds a slight sheen to the entire composition. Therefore, we cannot tell if the underlying interior composition (the one with red and green spatter) is a different type of paint.

*Detail of underpainting on SL interior wing (backside of woodland wing) on display at the Georgian Theatre Royal Museum.*

Yet the underpainting remains very exciting. Upon close inspection, one can clearly see the earlier scene; one with spattered pink stone columns and brown wood moulding. What I find remarkable is the use of spatter – red, green and ivory dots. This is the first time that I have encountered this type of spatter (warm and cool) on a nineteenth-century scene. I could write SO much more about this, but am going to stop here.

Below are a few more painted details from my visited to the Georgian Theatre Royal.

*A section showing ancient repair work, where “new” fabric was added to the wing.*

To be continued…

Travels of a Scenic Artist and Scholar: England and Wales, 2024.

You may have noticed that it has been a while since my last post.

When I’m not on the road for work, my life consists of scenery preservation, presentations, master classes, writing, scenic design, art, and caretaking (people, places and things). I wrote a similar statement last year, about the same time.

I just returned from a trip to England and Wales. The impetus for my travel began last fall at the Tyne Theatre & Opera House.

View of Newcastle-Upon-Tyne from my hotel window on July 29, 2024.

The Tyne Theatre & Opera House on July 30, 2024.

The Tyne Theatre & Opera House. Photograph by Mike Hume, August 2, 2024.

Last year, on Sept. 15, 2023, I presented a paper at an international theatre conference. 120 delegates attended the event, representing the UK, Europe, Canada and the United States.

My presentation, Stage Craft and Spectacle: Immigrant Contributions to North American Theatre, was part of the Tyne Theatre & Opera House Conference: Victorian and Edwardian Theatre in Performance, Music & Machinery – Stagecraft & Spectacle. Here is a link to my 2023 presentation from last year:

Travels of a Scenic Artist and Scholar: The Tyne Theatre & Opera House Conference, England, Sept. 13-15, 2023.

I was part of a session entitled Beyond Great Britain, one that included Mike Hume and Rick Boychuk. They discussed the Booth Theatre and Auditorium Theatre, respectively. Here is a link to more information about the conferences and individual sessions: https://www.tynetheatreandoperahouse.uk/international-conference/

The 2023 event was organized by David Wilmore of Theatresearch. On the final day of the conference delegates were able to watch the functioning stage machinery from both above and below stage.

David Wilmore explaining the stage machinery to delegates. September 15, 2023.

The 2023 conference was a truly a celebratory event, unveiling almost two decades of hard work to rebuild the entire stage house after a 1985 fire.

The theater’s website explains:

Our machinery is one of the only surviving examples of Victorian wooden modular stage machinery in the UK and is of huge historic importance. Prior to the theatre fire in 1985, the machinery was used regularly by fully trained volunteers in productions. Now however there is a real risk of losing historic knowledge from previous years. We are therefore developing a team of committed volunteers who will be trained in the operation and restoration of this machinery.

For more information about the Tyne’s Historic Stage Machinery, visit: https://www.tynetheatreandoperahouse.uk/historic-stage-machinery/

At both conference’s Wilmore provided context for the machinery, giving a full explanation of the bridges, cuts, and sloats during various demonstrations.

Sloats emerging from the cuts at the Tyne Theatre & Opera House. Sept. 15, 2023.

During the 2023 demonstration, Wilmore commented that they were ready to install new scenery. Before my departure, the following plan was hatched over a pint of beer.

Our plan: I would design and paint eight ground rows with historic pigments in the US, then hand-carry them in my suitcase.

In addition to delivering the scenery, I would teach a three-day distemper painting class while the scenery was being installed. The project would culminate at the end of the week with another international conference, featuring 19^th-century scenic art. The conference would also include a demonstration of the stage machinery, now complete with my scenery attached to frames on the sloats. Less than a year later, we were attaching frames to the sloats, just prior to the conference.

Attaching frames to the sloats on August 1, 2024.

So how did this all come to be?

In the fall of 2023, a survey was sent out to various organizations, inquiring about potential interest in a three-day distemper painting class. There was an overwhelming response, prompting the entire project to move forward.

As dates were finalized for the summer of 2024, a secondary “travel trip” was hatched with Mike Hume (https://www.historictheatrephotos.com/). In 2023, Hume, Boychuk, and I visited fifteen theaters, both before and after the conference. Our travels brought us to historic venues in London, York, Glasgow, Bristol, Bath, and the Isle of Man. In the end, we documented fifteen theaters.

Wendy Waszut-Barrett, Rick Boychuk and Mike Hume at the Theatre Royal in Bath, 2023.

Hume and I planned a similar trip this year, but by car. Our plan was to drive from Newcastle-Upon-Tyne to Craig Y Nos, Wales. The primary focus was historic scenery collections.

Mike’s map for our proposed 2024 theatre tour.

When all was said and done, I visited:

Georgian Theatre Royal, Richmond

Victoria Hall, Settle

The Plaza, Stockport

Buxton Opera House

Chatsworth House Theatre

Theatre Royal, Nottingham

Nottingham Concert Hall

Nottingham Playhouse

Everyman Theatre, Cheltenham

Adelina Patti Theatre, Craig y Nos

Normansfield Theatre, London

Richmond Theatre, London

The Palladium, London

My next several posts will be about the design and painting of the ground rows, my distemper scene painting class at the Tyne, the scenic art conference, and the historic scenery at various venues.

To be continued…

Travels of a Scenic Artist and Scholar: Ruby Theatre. Chelan, Washington, April 22 – 29, 2024

Many of my projects take years to plan and implement. Such was the case with the main drape and valance at the Ruby Theatre in Chelan, Washington.

The drapes were intended to accentuate a newly acquired photo-player. The old ones having fallen into an irreparable state of disrepair.

Proving to be a bit of a diva during installation, theatre owner Larry Hibbard, appropriately named his photo-player Valentina. Photo-players accompanied silent movies with both music and sound effects. By the way, Valentina rises from the original orchestra pit, now hidden below the thrust. Hibbard explained that Valentina demanded this grand entrance after learning about the history of photo players from her big-city cousins .

“Valentina” – the photo-player – on stage at the Ruby Theatre in front of the new draperies.

Here is a link to an interview with Hibbard about his photo-player, named Valentina, for Wenatchee World (January 2021)- “Bringing Back a Piece of History to Chelan’s Ruby Theatre.” https://www.facebook.com/watch/?v=416089849649129

Exterior of the Ruby Theatre in Chelan, Washington.

I was first contacted by Hibbard in November 2021. He was interested in replicating the main drape, complete with hand-painted border.

In January 2022, Hibbard shipped half of the main drape to my studio so I could examine the fabric and stencil. The arrival of the curtain at my studio coincided with another Washington State theater event that made national news. On Jan. 27, 2022, CNN reported, “A couple renovating a 115-year-old building discovered two 60-foot-long hidden murals.” The next day I received an email with a link to the article from my Canadian colleague John Madill. Madill was the first of many colleagues to share the online article; all urging me to contact the couple. I was hesistant as my schedule was already booked for the year.

The next day, on Jan. 29, 2022, I received the following FB message:

“Hi, Wendy! My husband and I recently uncovered a 60ft mural from 1915 and are hoping to conserve it. I was wondering if you could offer any advice or expertise as it looks like a theatre backdrop. There are videos and pictures on our Facebook group (mural restoration at the historic Timm building). Thanks so much.”

Great. I decided to see exactly where Okanogan was located. Amazingly, it was less than an hour north of the Ruby Theatre in Chelan, Washington. That was my sign to plan a quick trip.

Here is a map of the area – west of Spokane, Washington.

The Okanogan Murals were located in a building once known as the Hub Theatre.

A small section of the mural, delivered to the Hub Theatre by the J. M. Deeds Scenic Studio of Spokane, Washington.

They were only seen by the public for three years before being encapsulated behind a wall of plaster. In 1918, the building was again renovated, becoming the Paramount Theatre.

The renovated Hub Theatre when it became the Paramount.

I did a little research, and soon discovered that J. M. Deeds Scenic Studio decorated BOTH Okanogan’s Hub Theatre and Chelan’s Ruby Theatre. On Dec. 7, 1915, the Okanogan Independent announced, “Improvements at Hub’s.” The article reported, “Hub Carlton has contracted with J. M. Deeds of Wenatchee for interior decorations, new screen and new curtain for the Hub Theatre that will greatly improve the inside appearance of this popular playhouse. Mr. Deeds came up from Wenatchee last week and is now supervising the work, which is being done by W. J. McConnon, and experienced decorator who has been in Mr. Deeds employ for some time. Mr. Deeds has just completed decorations for the Wenatchee theater, which is said to be one of the finest in this part of the state, and also is the man who did the decorating for the Ruby Theatre of Chelan, known far and near as one of the most attractive playhouses in the country. The new improvements at the Hub include 120 feet of panoramic landscape scenery in light tans. The picture screen will be 11×13 feet in size and have frame effects of moulding. There will also be a pretty drop advertising curtain with an overhead roll, noiseless I operation and will be controlled from the operator’s booth. Mr. Carlton is sparing no means to improve his place of business and is making additions to his equipment as rapidly as business will warrant.”

Here is a link to my previous post about James Marion Deeds: https://drypigment.net/2022/03/07/travels-of-a-scenic-artist-and-scholar-j-m-deeds/

After a quick visit to meet with both theater owners in Okanogan and Chelan, I was soon back in Okanogan to supervise the removal of both murals from a water-drenched building. As they were created with distemper paint (pigment paste and diluted hide glue), time was of the essence.

Removing the murals at the Old Hub Theatre in Okanogan, Washington. March 2022.

That fall, I again led a crew to clean and stabilize the murals before again placing them back into storage.

The murals hanging in an Okanogan Fairground building after Phase 1: cleaning and stabilization. October 2022.

All the while, I remained in contact with Hibbard about the Ruby Theatre project. It took us quite some time to locate a similar fabric. Creating a custom-dye job was not financially feasible, as the project was too small.

In the end we hired Liba Fabrics to manufacture the draperies with a lovely rose-colored fabric that shifted color under light.

They were shipped to the Ruby Theatre during the spring of 2023.

The plain curtains, valance, and side curtains, installed at the Ruby Theatre in 2023.

My trip to paint the draperies was scheduled for spring 2024. Prior to my April departure, I replicated the stencil and completed several samples to look at on site before commencing the project with local assistants. As light altered the fabric to an alarming degree (that was the magic), we wanted to make sure that everything would work with the space.

Here is one of the three-color stencils…

The base color for the stencil.

Detail of the base color. I came up with a technique that made it look like velvet appliqués.

Two types of gold were applied for detail; warm and cool to help it take dimension from a distance.

Two types of gold paint were used for the second stencil.

Although photographs make it difficult to see the gold, it reflects light beautifully – especially in low-light conditions.

Completed stencil.

As anticipated, the “R” stencil would prove to be problematic. Enter, Patrece Canoy-Barrett. She re-stitched the top and flipped a pleat.

On site assistant, Patrece Canoy-Barrett, who re-stitched the pleats to make the “R” hang flat.

Addition highlight to “R” so it would “pop.” The seam disappears from a distance.

Completed stencil with Valentina, after painting the proscenium arch . Thrust lights are only used when Valentina emerges from the pit.

During my time on site, we also moved a drop curtain from the local museum back to the Ruby Theatre. I really wanted Hibbard to see how a painted element shifted the space. It was so successful that an event was planned to feature Valentina and the historic ad drop. The drop has since been returned to the Museum where it will be on display.

Moving the drop from the Museum to the Ruby Theatre.

Ad drop painted by J. C. Carpenter in 1932 for the Ruby Theatre.

To be continued…

Travels of a Scenic Artist and Scholar. The Theatre Museum of Repertoire Americana, Mt. Pleasant, Iowa, Jan. 7-15, 2024.

The Theatre Museum of Repertoire Americana when we left work on January 13, 2024.

On January 7, 2024, I drove from Minneapolis, Minnesota, to Mt. Pleasant, Iowa. My project was to catalogue a portion of the vast scenery collection at the Theatre Museum of Repertoire Americana. Located in southeastern Iowa, this unique museum is “dedicated to the preservation of memorabilia and artifacts of early repertoire theatre.”

Here is a link to their website http://thetheatremuseum.com/

The Theatre Museum resulted from a memorabilia exhibit displayed at the Midwest Old Threshers Reunion and Iowa Wesleyan College in 1970. Local enthusiasm fueled discussions to build a Theatre Museum on Old Thresher Reunion show grounds. On September 1, 1973, the Theatre Museum of Repertoire Americana was dedicated, and is currently situated at the north end of the show grounds. I. must mention that most of the credit for this entire endeavor goes to the promotional efforts of Caroline Schaffner (Neil & Caroline Schaffner Players), Jimmy Davis (6-yrs. member and 35-yrs. owner of the Schaffner Players), Helen Virden, and Joe Mauck.

The exterior of the Theatre Musuem is intended to simulate a nineteenth-century opera house.

My photograph of the Theatre Museum Building, March 2017.

Over the years, a variety of theatre artifacts were donated to the museum, necessitating two major renovations. In 2000, the Caroline Schaffner Research Library was added to the building. This archival space is packed full of rare scripts, correspondence, tour schedules, production photos, and a large collection of videotaped interviews with performers describing their touring experiences.

There is much, much more to discuss about the Theatre Museum’s origin, but I am going to pause here.

Displays at the Theatre Museum include a variety of scenery, costumes, machinery, touring trunks, play bills, show cards, advertising sheets, playbills, musical instruments, and more. Here are a few photographs of museum displays from my most recent visit.

Display cases in front of two 1875 shutters painted by Harry Dressel for Steyer’s Opera House in Decorah, Iowa.

Interior book flat delivered by Iowa scenic artist Jesse Cox in front of an Ad Drop painted by Iowa scenic artist Hugh Lanning (for the Blakesburg Opera House) in 1905.

There are many aspects that make this museum that make it internationally significant. However, it is their association with the Midwest Old Threshers Reunion (Old Threshers) that I find the most remarkable.

To clarify this relationship: Old Threshers owns the museum, but it is run by a museum board.

(Click here for more information about the upcoming Reunion)

Now you may wonder, “What is an old threshers reunion?” Let’s start with a thresher. A thresher, or threshing machine, beats the kernels from grain heads. This is a necessary step in the process of preparing grain for market. In the Midwest, many farmers gathered their resources to hire a threshing machine at harvest time. Threshing was an annual, or bi-annual, affair (depending on region) that gathered communities together for a common purpose. The result of their labors made it possible to ship large amounts of grain to flour mills and other processing plants across the country. For those who want to know about the evolution of the thresher, here is a link: https://www.farmcollector.com/steam-traction/evolution-of-the-thresher/

A Minneapolis Threshing Machine in front of chaff (the covering and other debris separated from the kernal when threshing grain).

Harnessing a steam engine’s power.

Although this is a far cry from current agricultural practices, it marked a culturally significant events for farmers. Threshing reunions celebrate agricultural technology from the nineteenth-century through mid-twentieth century. In addition to tractors and farming equipment these shows feature other aspects of farm life, including innovative technology and cultural artifacts from metropolitan areas too.

Also referred to a “steam shows,” the main feature are rows of tractors, with the earliest examples powered by steam. There is nothing quite like watching a massive steam tractor slowly puff across a field or power a threshing machine. It is a multi-sensory experience that instantaneously transports you back to another time and place. It provides contexts for all those American History classes that examined rural communities. If the show grounds include a steam engine that puffs along on a few miles of track, old-time music, vintage-clothing style show, it is magical.

I have been a member of the Western Minnesota Steam Threshers Reunion (WMSTR) since 1972. Here is their link and a few pictures from 2023: https://rollag.com/

My son and mother playing music in the WMSTR mercantile building, 2023.

My dad and husband working as conductors on the 353.

My dad has been the WMSTR Hobo for three decades.

Sadly, both WMSTR and the Midwest Old Threshers hold their reunions at the same time – on Labor Day Weekend.

Threshing shows are extremely affordable, with a four-day pass costing approximately $30.00. Both volunteers and visitors often camp on, or near, the show grounds for the entire event. This creates a tight-knit community over the years, fostering many life-long friendships.

Threshing shows offer something for everyone in the family, but the inclusion of a theatre museum makes the Midwest Old Threshers Reunion unique. As in days past, the museum offers respite to those weary from spending the day outside. In fact, it is a natural pairing that many fail to realize; the bringing of theatrical entertainment to rural activities.

As America’s network of transportation expanded throughout the second half of the nineteenth century, performance venues rapidly appeared throughout the Midwestern States and Western Territories. Scenery was delivered to stages in buildings titled Opera House, Opera Hall, Academy of Music, Museum, and Atheneum. Town halls, city halls, lodge rooms, saloons, and academic institutions. These spaces included stages, often with complete sets of scenery. The construction of a stage, regardless of the building’s name, signaled the success of a rural community. It signified that there was a social space to not only host a variety of community events, but also serve the needs of touring entertainments. For farming families, it was an opportunity to connect with their neighbors and in-town residents. Overall, it fostered the sense of community and provided a network of support for many individuals otherwise isolated on distant homesteads.

The Theatre Museum’s scenery collection includes scenery dating as early as 1875. Painted compositions for the stage feature the works of many well-known studios, including Sosman & Landis, Kansas City Scenic Co., Twin City Scenic Company, Joy & Cannon Scenic Company, and Universal Scenic Company. Some pieces are even signed and dated, signifying the only surviving scenic artworks by well-known scenic artist’s Arthur R. Hurtt and Harry Dressel. There is also an extensive collection of the Diamond Dye scenery painted Jesse Cox, founder of Cox Scenic Studios in Estherville, Iowa. The Theatre Museum of Repertoire Americana houses the greatest variety of late-nineteenth century and early-twentieth century scenery on display in North America.

Studio label on back of a drop recently documented at the Theatre Museum of Repertoire Americana.

Jesse Cox’s paint table on display in front of a dye drop.

During my stay, I documented far more than 50 drops, and there are dozens of wings and interior flats to go, with some dating as early as 1875. Despite, two blizzards and sub-zero temperatures, the trip was extremely successful. Keep in mind, that I was born and raised in Minnesota. I am very familiar with driving in near white-out conditions and have snow tires on my car. However, I am always hesitant to put myself in harm’s way on a winter road.

On Sunday, January 7, 2024, I drove from Minneapolis, MN, to the home of my host in Washington, Iowa, where I stayed at the home of Theatre Museum president, Monie Hayes.

He was my timeline for the week:

Day 1: On Monday, January 8, we both drove the 40-min. trip to Mt. pleasant, Iowa. That day we were able to unroll and document ten drops. Our primary focus was unlabeled scenery stored in the basement, above the stage and on the walls. The basement of the museum is another display area with small stage.

Day 2: On Tuesday, January 9, the first blizzard hit, dumping about 15” of snow where I was staying. It was an intense storm system that paused and spiraled around Washington. We called work off for that day, so I started compiling my report. Sadly, this delay meant extending my stay.

Screen shot of my weather app radar on Jan. 9, 2024.

Day 3: On Wednesday, January 10, I drove down the Mt. Pleasant, where we repeated the process, slowly unrolling, or unfolding, one scene at a time.

Day 4: On Thursday, January 11, I relocated to the home of another board members, Leigh Bradley, in Mt. Pleasant. I needed to be in town and not commute 40 minutes to an from the job site. My decision was based on the forecast of another blizzard. This storm was now combined with sub-zero temperatures. Iowa had again issued a no-tow order, meaning that travel was at your own risk; tow trucks would not be sent out to rescue stranded cars. As I was now staying only a few miles away from the Museum, we continued cataloguing scenery. The second storm was scheduled to start at 9PM that evening. After work, we all headed out to dinner at a local restaurant. These are the moments that make everything worthwhile; getting to know the people who are passionate about preserving there scenery collection.

Part of the week-long team included Richard Finkelstein. He had driven 14 hours to join me on site and photograph this remarkable collection. As always, I am amazed with Richard’s talent, knowledge, and generosity. It was such a delight to work with him again. Our last project was at the Scottish Rite in Richmond, Virginia when I packed up and moved that Masonic scenery collection to Tucson, Arizona, in January 2021.

Richard Finkelstein working at the Theatre Museum of Repertoire Americana.

Wendy Waszut-Barrett and Richard Finklestein at the Theatre Museum of Repertoire Americana.

Our workspace in the basement. Platforms and chairs were moved in the auditorium to lay out the backdrops.

Signature on corner of a Front Curtain (shown above), painted at the Twin City Scenic Co. in 1915.

Days 5 and 6: The back-to-back winter storm and second blizzard warnings for January 12 and 13 meant that there were only two volunteers who could show up. In many ways, these were my two favorite days on site.

Day 7: By Sunday morning, I recognized that I was going to be stranded in Mt. Pleasant another day. Again, there was a no-tow order, and I was unwilling to chance the 5-hrs. drive north; some roads were still impassible due to snow and ice.

Day 8: In the end, I left early Monday morning, and made it home by late afternoon. The anticipated 5-hrs. drive lasted much longer due to poor road conditions and slow speeds.

Iowa roads after the storms on January 15, 2024.

Here are a few images from my adventure.

1875 Shutter painted by Chicago scenic artist, Harry Dressel, for Steyer’s Opera House in Decorah, Iowa.

Detail from a drawing on the backside of Dressel’s shutter.

Detail of Grand Drapery Border paint by Sosman & Landis Scenic Studio, delivered to Mineral Point, Wisconsin.

Painted detail from dye drop painted by Jesse Cox of Estherville, Iowa.

Painted detail from dye drop painted by Jesse Cox of Estherville, Iowa.

Painted detail delivered the the Quoque Community Hall in Long Island, New York.

Painted detail by Sosman & Lanids studio artists for the ZCBJ Lodge Hall Front Curtain in Oxford Junction, Iowa.

Painted detail from a “Yankee Doodle” scene used by the Jack & Maude Brooks Stock Co.

Painted detail from a 1918 Ad Drop.

Stage screw and stage jack on display the the Theatre Museum of Repertoire Americana.

Border lights from the Blakesburg Opera House on display at the Theatre Museum.

The next few posts will explore some of the more significant scenery in the collection, starting with Arthur R. Hurtt’s street scene. I am posting some of my research while I complete condition reports, replacement appraisals, and a Collections Care Management document for the Theatre Museum of Repertoire Americana. In an effort to generate support for the Theatre Museum, I will share some of the most significant artifacts in the scenery collection.

Please consider becoming a member of the Theatre Museum. The annual fee is only $20 ($15 for students). Your support sends a message to the Midwest Old Thresher’s Reunion and the Mt. Pleasant Community that the Theatre Museum is important and should remain open. Here is the link to contribute: http://thetheatremuseum.com/membership

To be continued…

Tales of a Scenic Artist and Scholar. W. T. Hemsley (1850-1918), Scenic Artist

Over the years I have repeatedly encountered the name of scenic artist W. T. Hemsley. Hemsley’s paint studio was even featured in an 1899 article by Frederick Dohlman.

W. T. Hemsley’s paint studio featured Dohlman’s article for Cassell’s Magazine, 1899.

Published in Cassell’s Magazine, it was entitled “Scene-Painters and Their Art.” There is one illustration captioned “Grinding the Colours” that I frequently use when discussing the distemper paint.

Grinding the colours in Cassell’s Magazine, 1899.

My previous post examined Hemsley’s act-drop for the Gaiety Theatre in Douglas on the Isle of Man. Here is the link: https://drypigment.net/2023/11/02/travels-of-a-scenic-artist-and-scholar-the-gaiety-theatre-act-drop-by-william-t-hemsley/

Detail of act-drop curtain by W. T. Hemsley for the Gaiety Theartre.

As promised, this post is about William Thompson Henry (1850-1918). Hemsley was a scenic artist who thoroughly understood painted illusion, stage machinery, and lighting systems. In fact, he specialized in the design and manufacture of transformation scenes; impressive scenic spectacles for the stage that highlighted the metamorphic nature of scenic art at this time.

This post is quite lengthy, so grab a cup of coffee and settle into your chair.

W. T. Hemsley ‘s portrait in Cassell’s Magazine, 1899.

Over the years, various publications have briefly summarized Hemsley’s life and career. Much of the information is based on his 1918 obituary. While transcribing the several newspaper obituaries when researching his career, one in particular caught my eye. It mentioned his personality and character. I am going to start with how his contemporaries remembered Hemsley in 1918. On Feb 9, London’s Daily Telegraph announced the death of W. T. Hemsley:

“A more simple-hearted or more genial man than Mr. W. T. Hemsley, whose death we regret to announce, never existed. In an emergency, he was always to be counted upon, never considering the trouble to which he might put himself in order to assist a friend or even casual client. He might fittingly have sat to Dickens as a model of cheery optimism. Born in 1850 at Newcastle-on-Tyne, he started life as an engineer, but canvas, paint, and brush were evidently far more to his taste than machinery, and before many years were over, he had taken the plunge and began a new career in London as a scenic artist. There is hardly a West-end theatre which, since then, he has not furnished with convincing proof of his talent as a painter. With him the readiness was all, and the celebrity with which he would provide a humble interior, a palatial edifice, or a garden set was quite remarkable. He knew, as he was known by, everybody, and his fund of good stories and interesting reminiscences was practically inexhaustible. He will be missed by his many friends and acquaintances.”

It is apparent that Hemsley left a legacy that went beyond any painting. He was well-respected and loved by both colleagues and clients. We can only hope to be lovingly remembered by friends and family.

Hemsley is a scenic artist that I have added to my “wish list.” I wish that I could have watched him paint. I wish that we could have chatted about color. I wish that we could have watched a sunset…and then I think of my maternal grandmother’s saying, “If wishes were horses, we all would ride.”

William Thompson Hemsley was born in Gateshead, across the Tyne River from Newcastle-Upon-Tyne. He was the son of George Hemsley (1822-1888) and Mary Watson (1825-1899). Hemsley’s mother, Mary, was the daughter Thomas Watson and Margaret Linch; his maternal grandfather was a shoemaker in Newcastle-upon-Tyne. W. T. Hemsley’s own father, George, was an engine fitter, the son of William Hemsley and Anne Thompson. William Hemsley, his paternal grandfather, worked as a groom.

William Thompson Hemsley was the second of eight children born to George and Mary. The 1851 Census listed the Hemsley household as including George (29 yrs.), Mary (26 yrs.), Mary Ann (2 yrs.) and William (10 months). In Gateshead, the family celebrated the birth of two more children: Thomas W. (b. 1852) and Margaret “Mary” (b. 1854). Sometime after the birth of Mary, the Hemsley family moved to Swindon in Wiltshire County. For geographical context, Swindon is approximately 290 miles to the south, 84 miles west of London.

Location of Swindon in relation to London.

In 1858, the Hemsley’s fifth child, John Robert, was born in Swindon. Another son, James G., arrived in 1860.

The 1861 census listed the Hemsley family living at 6 Westcott Place, Swindon. The household included the following members: George (39 yrs.), Mary (36 yrs.), Margaret (12 yrs.), William T. (10 yrs.), Thomas W. (9 yrs.), Mary (7 yrs.), John (3 yrs.) and James (1 yr.). There was also a lodger, Josiah Kay, living in the Hemsley Home. Both Josiah and George were employed as “engine fitters”.

William was still living with his parents when the 1871 Census was taken. He was listed as a “fitter,” with his father George listed as a “fitter and turner.”

Hemsley’s artistic endeavors in Swindon were remembered in his obituary. At 16 yrs. old, Hemsley obtained a teacher’s certificate and the Society of Arts’ first-class certificate. He also became acquainted with the later Rev. J. M. Bellew, father of Mr. Kyrle Bellew, and by him was introduced to Mr. Augustus Harris, sen., at Covent Garden Theatre, and to Mr. J. O’Connor of the Haymarket Theatre, obtaining through the letter of engagement with the late Mr. Beverly at Drury Lane. This was William Roxby Beverly (c. 1810-1899) who was appointed scenic director at Covent Garden Opera House, in succession to Thomas Grieve, in 1853. Beverly’s association with Drury Lane commenced the following year.

Act-drop by W. R. Beverley for the Shakespeare Memorial Theatre in 1879. Here is a link to the image and story by Sylvia Morris: https://theshakespeareblog.com/2017/03/william-roxby-beverley-stratfords-forgotten-theatre-artist/

Hemsley’s association with Beverly continued and resulted in his acquisition of several Beverly artworks. In fact, Hemsley’s Beverly collection was even part of the 1905 Scenic Artists’ Association exhibition at Grafton Galleries. An article in The Times reported, “Mr. W. T. Hemsley sent a very interesting collection of the works by W. R. Beverly” (p. 4).

Hemsley’s obituary also remembered, “While Mr. Hemsley was studying at the Lambeth School of Art, Mr. Tom Taylor, the celebrated dramatist, frequently selected for him subjects and criticized his sketches, and notably highly commended his composition of The Lady of the Lake.” Established in 1854, by the late 1850s, the institute functioned as a night school. It gained a reputation for training may important sculptors. Here is a link for more information: https://vauxhallhistory.org/lambeth-school-of-art/

In 1873 Hemsley was working as a practical engineer in London, living at 25 Stafford Pl., Pimlico, S. When he married Fanny Harriet Castle May, Hemsley listed his profession as “practical engineer”, the same as his father, George Hemsley. On June 25, 1873, they were married at the Parish Church, Margate West, Middlesex County. Interestingly, Fanny’s father, George Harding May, was listed as an “artist.”

Photograph of George May sketching in 1855. Image from ancestry.com

This may have been the turning point in Hemsley’s career as he transitioned from a practical engineer to scenic artist. Witnesses to the marriage were Fanny’s sister, Blanche, and James Birkett.

Photograph of Silver Wedding Anniversary for the Hemsleys. Image from ancestry.com

When William Hemsley transitioned from practical engineer to scenic artist, he began using his middle initial “T.” This was to distinguish him from the well-known London genre painter, William Hemsley (1819-1906). Unfortunately, going by W. T. Hemsley also causes some confusion, as that is the stage name of William Thomas Witty (1854-1952). Witty, a.k.a. W. T. Hemsley, performed with D’Oyly Carte touring companies between 1880 and 1885.

William Thompson Hemsley’s obituary remembered, “In 1874 Mr. Hemsley returned to Swindon, and there his artistic ability was recognized by Charles Mathews, who gave him and introduction to Miss Sarah Thorne at Worcester, and for some years he remained under her management at Margate as resident scenic artist” (North Mail, Newcastle Daily Chronicle, 9 Feb 1819, p. 5).

Map showing the location of Swindon and Worcester.

The “Charles Mathews” who made the introduction was Charles James Mathews (1803-1878). In 1876, both Thorne and Mathews were performing at the Theatre Royal Worcester At the time, Thorne was credited as lessee of the Theatre Royal Worcester. On Dec. 9, 1876, Berrow’s Worcester Journal announced the two-night engagement of the eminent comedian Mr. Charles Mathews in “My Awful Dad” and “Cool as a Cucumber” (p. 5). Mathews likely introduced Hemsley to Thorne sometime between 1876 and 1877. The two toured together until Mathews passing in 1878.

Sarah Thorne

Charles Mathews portrait by Rembrandt Peale.

On Feb 17, 1877, the Isle of Thanet Gazette included an advertisement announcing “Theatre Royal, Margate. One night only, March 2, 1877. Miss Sarah Thorne has the honour to announce the engagement of the famous comedian, Mr. Charles Mathews, who will appear as ‘Adonis Evergreen.’ In ‘My Awful Dad”…supported by Miss Sarah Thorne and her Company” (p. 1).

On June 23, 1877, Berrow’s Worchester Journal announced that Miss Sarah Thorne, lessee of the Theatre Royal Worcester “has the honour to announce the engagement of the famous Comedian Mr. Charles Mathews, who will appear as Adonis Evergreen in his own comedy, “My Awful Dad,’ played by him upwards of 200 nights as the Gaiety Theatre, London” (page 5).

Thorne has been associated with the Theatre Royal in Worcester since 1874. Thorne’s engagement in Worcester was early in the year. On Feb. 7, 1874, the following advertisement was placed in Berrow’s Worcester Journal:

“Theatre Royal, Worcester. Miss Sarah Thorne’s Dramatic and Burlesque Company will re-appear here on Monday, Feb. 16^th in the Historical Drama, “A Sheep in Wolf’s Clothing,” and the comic pantomime, “The Children in the Wood,” new scenery, dresses and effects” (p. 5). Thorne was again mentioned in Berrow’s Worcester Journal; on Feb. 28, 1874, p. 5. The advertisement was titled, “Theatre Royal, Worcester. Masonic Patronage.” The article reported, “The Last Night, and Benefit of Miss Thorne, under the distinguished Patronage of the Worshipful Master and Wardens of the Worcester Lodge, 280; the Worshipful Master and Wardens of Semper Fidelis, 529, with Brethren of these Lodges. Mr. George Thorne, Principal Comedian of the Theatre Royal, Leeds, will appear (by permission of John Coleman, Esq.), in his successful Burlesque, LE RAW CAROTTE, introducing his original songs and dances. The St. James Drama LADY AUDLEY’S SECRET, In which Miss Sarah Thorne will sustain her successful character of Lady Audley, played by her for fifty nights at the Theatre Royal, Brighton.”

We are certain that Hemsley was not in attendance at the Feb 28 performance, as he did not become a Mason until 1882. Hemsley joined Union Lodge in Margate; initiated March 3, passed April 7, and raised May 5.

To place Hemsley’s meeting with Thorne in a chronological timeline…

Hensley marries Fanny in Margate on June 25, 1873. At the time, the two listed their residence as 25 Stafford Pl., Pimlico S. in London. Early in 1874, the Hemsleys returns to Swindon after the birth of their first child, William G. Hemsley in Battersea, Surry. It was in Swindon where Hemsley receives an introduction to Sarah Thorne. This could have been anytime between 1874 and 1878, when Mathews passed. During the spring of 1878, Thorne and Mathews were touring and featuring Mathews in “My Awful Dad” and “A Game of Speculation” (The Surrey Advertiser, County Times 20 April 1878, p. 4). Thorne placed a notice in The Era after Mathews passing that summer. On June 9, 1878, The Era published,

“Miss Sarah Thorne’s Company.

NOTICE. – In consequence of the indisposition of Mr. Charles Mathews he cannot possibly fulfil the Engagements made by Miss Sarah Thorne for his appearance. Miss Sarah Thorne, assisted by Mr. George Thornes and the following members of her Company, will appear in several high-class comedies” (p. 14).

The earliest their first meeting could have occurred was early February 1874. This was while Thorne was performing at Worcester. For geographical context, Worcester is approximately 58 miles northeast of Swindon. This places the Hemsley-Thorne meeting all within the realm of possibility. They also could have also met in 1876 when Thorne assumed management of the Theatre Royal, Worcester.

It is obvious that his early training with Beverly and later work for Miss Sarah Thorne changed the course of Hemsley’s career. He was in the right place at the right time.

1874 was a turning point for Sarah Wendy Thorne (1836-1899). She succeeded her father as theatre manager of Theatre Royal, Margate, remaining in that role until Aug. 1873 when the theatre was sold to Robert Fort. Although Thorne remained in a management role for the 1874 season, she soon shifted her focus to the Theatre Royal, Worcester by the spring of 1876. When the Theatre Royal was destroyed by fire in 1877, Thorne formed a touring company with Charles James Mathews. Again, it was Mathews who first introduced Hemsley to Thorne. And the fates were not with Thorne, as Charles James Mathews passed away by the summer of 1878.

This period was also one of transition for the Hemsley’s as their family expanded, welcoming George Robert Hemsley in 1876 and Harry May Hemsley in 1877.

By 1878, Thorne and Hemsley are both associated with the Robinson Crusoe pantomime performed by her Company at the Swindon Mechanic’s Institute. On Feb. 3, 1878, The Era reported, “The scenery was by Messrs. R. Douglas (of the National Standard Theatre – a sufficient guarantee of its excellence) and Mr. W. T. Hemsley, of this town, and we really must congratulate Mr. Hemsley on his great success” (p. 9). This was possibly, Hemsley’s first scenic art project.

Hemsley continued to work for Thorne, employed as not only a painter, but also designer. On Dec. 28, 1878, the Folkstone Express, Sandgate, Shorncliffe and Hythe Adviser reviewed Miss Thorne’s Pantomime – “Puss and Boots”, reporting, “It embraces twelve different scenes, the transformation scene having been specially designed and painted by Mr. W. T. Hemsley” (p. 5).

At the beginning of 1879, “Hemsley, of Swindon” was credited as the scenic artist for Thorne’s King Pumpkin pantomime at Margate and Ramsgate theatres. On Jan. 11, 1879, Isle of Thanet Gazette reported, “The first transformation scene ‘Fairy Seasons’ was designed and painted by Mr. T. W. Hemsley, of Swindon, and equally attractive is the closing scene ‘Blissful Bowers of Repose’ which closes the performance” (p. 6).

1879 is significant in a few other ways that affect Hemsley:

Thorne resumes a lease at the Theatre Royal Margate.

The Hemsleys celebrate the birth of Bertie Thomas Hemsley.

Hemsley is credited as scenic artist for Sarah Thorne’s productions of Robinson Crusoe and Billy Taylor when they toured Theatre Royal, Cheltenham (The Era 5 Jan 1879 p 5). His scenic art is also mentioned in Thorne’s Yellow Dwarf pantomime at the Theatre Royal, York. On April 20, 1879, The Era reports, “The most admirable sets are a Dizzy Pass and the Enchanted Groves (W. T. Hemsley)”. Other scenic artists working with Hemsley on the production were Henry Emden and Charles Smithers (The Era 27 April 1879, p. 18).

While The Yellow Dwarf played in York, Hensley also worked as a lightning artist. I have written about lightning artists in the past. Lightning artists are rapid caricaturists. In York, Hemsley was programmed into each evening’s entertainment. On May 7, 1879, The York Herald reported, “Enthusiastic reception of the rapid caricaturist, Mr. W. T. Hemsley, in his celebrated Sketches every evening, commence at 7.30” (p. 1).

For the next few years, Hemsley continued to both paint scenery and perform as a lightning artist with Sarah Thorne’s company. 1879 productions included The Lady of Lyons, Orange Girl, Washington Watts and The Shaughram, to name a few. Hemsley’s name repeatedly made news for his painted settings, transformation scenes, mechanical effects, and rapid character sketches. By the fall, Hemsley was making a name for himself everywhere. On Nov. 9, 1879, The Era listed him as “Resident scenic artist Mr. W. T. Hemsley” for the Royal Princess’s Theatre, Glasgow. At the end of that same month, his act-drop for the Theatre Royal, York, also made the news. On Nov. 28, 1879, The Era announced, “A feature of this evening was the lowering of the new act-drop, from the brush of Mr. W. T. Hemsley. In the centre of the cloth is a medallion containing a beautiful landscape; on top is a portrait of Shakespeare and on either side, in smaller medallions, are his birthplace and burial place, the whole being surmounted by the arms of the city.”

By the beginning of 1880, Hemsley was credited with the scenery for another Thorne Pantomime, Jack and the Beanstalk. Of Hemsley’s work, the Surrey Advertiser and County Times reported, “The scenery is beautifully painted…Mr. W. T. Hemsley, the artist, who painted the scenery has a wonderful power of sketching portraits in crayon, winning for him cheers from the admirers of the national celebrities that he, almost in the twinkling of an eye, vividly brings before the audience” (31 Jan 1879, p.5). That same day, “The Surrey Advertiser and County Express added: “W. T. Hemsley, an artist who received the warm acknowledgements of spectators for the rapid, but faithful portraits which he drew of famous men of the day, including Earl Beaconsfield, John Bright, Cetewayo, and some of the heroes of Isandula” (p. 5). He was still in Surrey the next month making news as a caricaturist. On Feb. 14, 1880, The Surrey Mirror and County explained that Hemsley made sketches as an entr’acte performance, part of the ballet interlude. The article reported, “Mr. W. T. Hemsley, displays his genius as a rapid caricaturist by sketching famous men of the day and local celebrities – ‘the local celebrity’ on Tuesday evening was Mr. Wm. Beale, the postmaster. The ballet interlude over, the story resumes at the gates of the Giant’s Copper Castle.”

By the summer of 1880 Hemsley began to place advertisements in The Era for his services, although he was still listing a primary residence in Margate. On Aug. 22, 1880, his advertisement read: “Mr. W. T. Hemsley, scenic artist and caricaturist, offers invited for Christmas. Specially engaged to paint scenery for ‘The Eviction,” at Olympic Theatre. Address 2 Alma-place, Margate; or Mr. T. Grahame, 20 King-street, Covent-garden” (p. 15). The second address that Hemsley listed was the same as for Grahame’s Anglo-American Dramatic, Musical and General Agency. At 20, King-Street, Covent-Garden. Grahame was part of Hemsley’s network, likely introduced by Charles Mathews. In 1873, Grahame’s advertisements listed:

“Stage-manager, Prompter, or Actor. Mr. T. Grahame, formerly of Boston, U.S.A., Disengaged 17^th December, Refers to Charles Mathews and A. W. Young, of England; or Charles Fechter and E. L. Davenport, or America. Address, 479 Kingsland-road, E. Agents, English and Blackmore” (The Era, 7 Dec 1873, p. 16).

The 1881 Census listed the Hemsley family living in Margate. The household including William T. (30 yrs.), Fanny (26 yrs.), William G. (6 yrs.), George R. (4 yrs.) and Harry M (3 yrs.). Another son, Arthur Phillips Hemsley arrived in 1882.

In 1883, Hemsley stretched his wings, painting scenery for a new entertainment – Walter Stanton’s “Human Farmyard.” The spectacle was staged at the Aquarium, Brighton; Royal Aquarium, Westminster; Marina Hall, Ramsgate; St. James Hall, Plymouth; Pavilion, Hastings; and elsewhere. By 1889, Barnum & Bailey had created their own “Walter Stanton” attraction, promising human imitations “in the most natural manner the curious cries of birds, squealing of pigs and calls of domestic animals with life-like exactness, the appearance, action and strut of crows, ducks, geese and other familiar bords.”

Barnum and Bailey’s imitation of Walter Stanton’s Human Farmyard, 1889.

During this time, Hemsley continued to work with Sarah Thorne. However, he also became associated with Sadler’s Wells Theatre and the Grand Theatre (Islington). In 1884, Hemsley made the news for his scenic art for Andrew Halliday’s revival of Notre Dame at Sadler’s Wells Theatre. On Dec. 29, 1883, The Era reported, “The noble porch, the flying buttresses, the massive tower, were all portrayed with a fidelity to the original that it would be difficult to surpass, and to Mr. W. T. Hemsley, the admirable scenic artist of the establishment, must be given high praise for his clever work” (page 4). Hemsley was still listed as the Sadler’s Wells scenic artist that summer when he testified in a court case between Arthur Blackmore, theatrical agent of 11, Garrick-street, Covent-garden, and Miss Rose de Vane’s Shakespeare Co. The dispute involved the purchase of glue for painting, as it was “necessary for the scenery [Hemsley] was to prepare” (The Era, 28 June 1884, p. 11). A dispute over hide glue needed for the distemper painting process. That fall, Hemsley also provided scenery for Folle Farine at Sadler’s Wells Theatre (The Era, 18 Oct 1884).

By the winter of 1884, Hemsley received rave reviews for his work on Puss and Boots at the Grand Theatre. On Dec. 28, Lloyd’s Weekly Newspaper reported, “Mr. W. T. Hemsley has painted some magnificent scenery, his Ballet Scene and Transformation Scene being especially beautiful.” Hemsley was listed as the scenic artist of the establishment when he painted a new act-drop for the Grand the next year. On Feb 21, 1885, The Era described Hemsley’s’ new act-drop:

“…commemorative of Shakespeare, whose figure is prominent on the prompt side of the curtain. It is entitled ‘Come unto these yellow sands and illustrate,” and illustrates the well-known song of Ariel in the first act of The Tempest. The subject has been treated in similar fashion, whose seashore is a strip of smooth sand. Mr. Hemsley’s beach is too pebbly to suggest a tripping place for fairy feet; but the subject is treated boldly. The background is rocky headland, and the figure of Ferdinand in, in listening attitude, affords a striking contrast to the airy spirits hovering overhead” (p. 14).

Another of Hemsley’s projects for the Grand Theatre was A Dangerous Game, receiving a favorable review in The Era on April 15, 1885: “At this point we should state that the charming country landscape painted by Mr. W. T. Hemsley is one of the prettiest we have seen, and is likely to enhance his reputation as a scenic artist.”

Hensley again worked for Sarah Thorne in 1886, credited with the new scenery for her 17^th annual pantomime Sinbad the Sailor (Croydon Advertiser, 30 Jan 1886, p. 4). Beginning in 1886, Hemsley also began painting scenery for the Cambridge University Greek Plays.

By July 1887, Hemsley placed several advertisements in The Era:

“WANTED, Theatrical managers and others to know that W. T. Hemsley, Scenic Artist, has taken over the entire business recently carried on by Holt and Wilmot, manufacturers of Scenery and Stage Appliances, 57, Belvedere-road, London, S. E., ‘and hopes for a continuance of favours.” &c. A quantity of profile always in stock.”

In 1888 Hemsley painted scenery for the touring pantomimes by both Sarah Thorne and Henry Dundas. Thorne hired Hemsley to new paint scenery for the pantomime, Tom Thumb the Piper’s Son. For Dundas’s productions, Hemsley worked closely with F. W. Robson on Jack-in-the-Box and Mr. Barnes of New York. On Aug. 11, 1888, The Era described Dundas’s Jack-in-the-Box pantomime at Chester, noting, “New scenery and mechanical effects have been supplied by Messrs. W. F. Robson and W. T. Hemsley, who have also done their work well.” Of Dundas’s Mr. Barnes of New York, on May 5, 1888, The Era reported, “This version will embrace the Entire Railway Incidents for which a Special and most Elaborate Mechanical Scene has been constructed by W. T. Hemsley at a cost of over 50 pounds. This scene will be the sensation wherever seen. All new Chromo Litho Pictorials. Initial production, Princess’s Glasgow. Few open dates.”

Other productions attributed to Hemsley at this time include A Life’s Debt, Bootless Baby, Aladdin, Little Bo-Peep, Miss Bella Pateman’s Master and Man, and Dundas’s Human Nature. Of Dundas’s tour, The Era advertised, “Every Scene will be carried, and entirely new. Painted from Original Sketches by the well-known London Artist, W. T. Hemsley” (28 Dec. 1889, p. 3). He both designed and painted the settings.

Hemsley continued to work for Dundas in 1889. On May 25, The Era announced that Henry Dundas was “lessee, resident and responsible for the Royal County Theatre, Reading.” The announcement added, “Scenery for each production will be painted by Mr. W. T. Hemsley.”

That summer Hemsley’s son, Harry, was injured in Swindon while playing with his siblings. It just goes to show how fragile life can be. On Aug. 24, 1889, The Era reported, “Harry May Hemsley, son of W. T. Hemsley, a scenic artist, Grand Theatre, while on visit to Swindon met with an accident last Wednesday, the 14^th inst., while playing in the sand cliffs at the top of Clifton-street. It appears that about eleven o’clock the boy, with his younger brother and his sister, was engaged digging a hole in the side of the cliff near a large cavity. The younger boy went to the top of the cliff, and while he was absent the upper portion of the cliff gave way, completely burying his brother below. The lad was speedily unearthed and taken home, where he was found to have sustained a severe scalp would. He is progressing favourably under the treatment of Mr. G. M. Swinhoe.”

Hemsley himself was also not immune from danger. On Jan. 18, 1890, The Era reported on an illness affecting the employees at the Globe Theatre during a revival of The Taming of the Shrew: “Mr. Hemsley, the scenic artist, and nearly all his staff are down with the prevailing epidemic.”

The 1891 Census listed the Hemsley family living in Battersea. The household now included six children: George, Harry, Arthur, Ivy and Grace. Hemsley was listed as both a sculptor and artist. Interestingly, he lived next to John W. Ayers, also a caricature artist and sculptor. That year, Hemsley’s name was included in a fascinating advertisement entitled, “Arcadia, Arcadia, Arcadia.” This ad, published in The Era on July 25, promised “Brilliant Illuminations and Decorations by J. Pain and Sons. Splendid Floral display by Wills and Segar. Grand Scenic Effects. Rocks, Grottos, Waterfalls, &c., by W. T. Hemsley. Opens TO-DAY (Saturday), July 25 – admission six pence.” Hemsley was involved with this same project the next summer. On July 23, 1892, The Era included the following advertisement. “Arcadia, Arcadia, Arcadia. – “Superb Illuminations and Decorations by J. Pain and Sons. Thousands of coloured lights. Magnificent Floral display by Wills and Segar. The gigantic Fairy Fountain, with scintillating prismatic lights. Grand and Novel Scenic Effects by W. T. Hemsley. All-star artistes. Military bands, Switchback Railway. Al Fresco Lager Beer Garden, and numerous other attractions. Every Evening at 6. Wednesday and Saturday at 2 and 6. Admission 6 pence. Opens TO-DAY (Saturday), July 25 – admission six pence.” (p. 12).

Work was pouring in for Hemsley and included a touring show of Dick Whittington for Geoffrey Thorne. On Jan. 2, 1892, The Era reported, “The scenery is the work of Mr. W. T. Hemsley, and it is most attractive, the scene Highgate Hill, perhaps, being the most striking and effective in the series. The transformation scene, Home of Fleeting Fancies, is a brilliant work, and merits the unstinted applause bestowed upon it” (page 20).

Other projects that spring were Fred Cooke’s tour of Icebound. Hemsley painted the elaborate stage spectacle with Alf Terraine. The production received rave reviews. On June 17,1893 The Surrey Mirror and County Post advertised, “the company travels with a complete set of novel and original scenery, specially painted for this tour by Messrs. W. T. Hemsley and Alf Terraine” (page 4).

An abundance of opportunities prompted Hemsley to set up a studio at 2 Felix St., Westminster Bridge Road in London. He knew the value of publicity, planning a big event and advertising in The Era. On March 12, 1892, The Era announced, “Mr. W. T. Hemsley, the well-known scenic artist, opened his new painting rooms in Felix-street, Westminster-bridge-road, on Friday, 4^th inst., with a most enjoyable ball. The painting-room proper, which is fitted with the latest modern improvements, is of such proportions as to enable the artists to paint a 50ft. cloth and set a complete scene before its leaving the studio, the carpenter’s department and storage warehouse being built in like proportion” (p. 10).

On June 4, 1892, Hemsley advertised in The Era again, announcing “Mr. W. T. Hemsley, scenic artist has removed to his new painting rooms and scene Manufactory (the largest and best appointed in London), 2 Felix-st, Westminster-bridge-road, S.E. Large or Small Contracts arranged upon for the most reasonable terms consistent with the best Artistic work” (p. 2).

Hemsley also painted with Walter Hann (1858-1899) and Joseph Harker in 1893; the three delivering scenery for Herbert Beerbohm Tree’s The Tempter at His Majesty’s Theatre, Haymarket, London.

In 1894 Hemsley painted scenery for The Last Shot at the Tivoli. On Feb 24, 1894, The Era reported,“Mr. W. T. Hemsley is responsible for the pictorial effects which include a bush scene, a vision of Major Wilson’s force, and the artistic tableau ‘The Last Shot,’ a really clever piece of work, which does credit alike to the liberality of the management and the imagination of the scenic artist” (p. 16). The next month, Hemsley painted scenery for A Comedy of Sighs and The Land is Heart’s Desire at the Avenue Theatre. On March 31, 1894, The Era reported, “The scenery for both pieces was painted by W. T. Hemsley, whose interior of the drawing room of Southwood Manor was very handsome, the fashionable furniture and appointments being well supplied by Hampton and Sons” (p 9). Hemsley was also responsible for the Queen of the Seas pantomime at the Tivoli. On Dec. 27, The Standard reported, “The scenic artist has introduced into the panoramic procession of the motely fleet some rather striking spectacular effects, and what with the support of sailors on deck, who take part in the chorus, and of the orchestra in front, the entertainment is altogether a thoroughly impressive and enjoyable one. The sketch is by Mr. Hugh Moss, the scenery by Mr. W. T. Hemsley.”

Other 1894 productions included a touring production of Pleasure (copied from the original Drury-land production), No Man’s Land at the Pavilion, and Mackinder and Wingfield Company’s The Water Babies.

William, Fanny and George Hemsley. Image from ancestry.com.

George Hemsley followed in his father’s footsteps. Both were mentioned in the renovation of Whitable’s Assembly Rooms in 1895. On Sept. 21, 1895, the Whitable Times reported, “The hall is being entirely repainted and decorated, but in addition to this a permanent proscenium is being constructed and will be furnished with an act drop and several scenes, painted by Mr. George Hemsley, under the direction of the well-known scenic artist, Mr. W. T. Hemsley. The platform is extended six feet and the prompt side three feet in front, so that the proscenium will be 18 feet wide, the whole forming a good workable stage. The drop scene is a very handsome and realistic representation of a view of Neapolis.”

In addition to working with his son, Hemsley was also working with T. Ryan; the two were painting scenery for The Forty Thieves. Other elaborate spectacles painted by Hemsley that year was Napoleon, Belinda, and Robin Hood. The two frequently worked alongside T. E. Ryan and W. P. Warren,

For fifteen years, Hemsley painted massive backdrops for the military tournament and horse show in London. There is a wonderful article about his project in 1896 that was published in The Westminster Budget (May 22, 1896, p. 11).

Illustration that accompanied the article.

Here is the article, “Under Fire at Islington. Making Ready the Scene of Battle,” in its entirety.

“Tommy Atkin’s high jinks begin on Thursday next, the 28th instant, as Islington. The carpenters have been going at it hammer and nails for the past ten days, and by the aid of stays and planks turning the iron girders and boarded floors of the Agricultural Hall into a Roman Amphitheatre. But it is not all. The lads-in0red want their proscenium as well. So that they may, as usual, make a feature of their little game of war. The subject burning in our heart, we looked in the hall and discovered Mr. W. T., Hemsley building up the foot of the Jung-frau of the Hindu Kush. It is astonishing what marvels a stay of deal, a bit of dingy canvas, a bucket of size paint, and a whitewash brush can accomplish.

“So you are once more in the hum of it, Mr. Hemsley?” was the remark of a representative of the Westminster Budget, as he shook hands with the well-known designer and painter of scenic effects.

“Ah! If you like – metaphorically I am up to me ears in paint. We have not let the dust grow under our feet. It is a king of rule with most people. ‘This or that is what we want,’ and it must be done often in what seems an impossibly short period. It is just the same whether we are building up a whole street, a cathedral, man-of-war, a palace, or a prison – for it is the scenic artist’s province to provide all these things. Comparatively we have two minutes to conceive our subject, five minutes to plan it, and ten minutes to make or build up a model. But we have a little longer this year to get into order.” And as we talked the artist kept stirring a bucket of cobalt blue, into which his assistant, wrapped in a smock of new brown holland, would throw a pinch of vermillion or a dab of brown madder.

“Mixing up the atmosphere,” Mr. Hemsley remarked, with a twinkle, “and it is not grey enough yet. Just another spoonful of vermillion. That’ll do; now try the effect. We get the atmosphere. If air is not there, we must paint it, or to use a big word, chiaroscuro the situation. You may smile – now – do not say it can’t be done. It is a sine quâ non of our profession to put a butt into a drop. Look, think a minute,” remarks Mr. Hemsley, and points with his maulstick to the end of the hall. “On that drop which serves as the background to our battlefield this year – the span is 130 feet across – I have to squeeze in a snow mountain 10,000 feet or so high, suggest its numerous peaks, its million and one precipices, ravines, and gentle slopes as well as give an idea of its immense next-door neighbors. And it is not only the mountains that have to be portrayed, but a military hill fort as well, with its wall and its towers and its rocky approaches. Yes, a scene painter has to view the world through a diminishing glass. The fort Ali Musjid, to hold the pass, would be some distance up the elbow of the mountain. The authorities give me 30ft. ‘Within the bee’s-knee compass,’ say they, ‘suggest the clamber up a mountain road under a hot and retreating fire; show how a military bridge is thrown over a nasty ravine; a mountain battery put in an out and brought into action again; give a playground for from 15 that I have constructed the scene for Tommy’s last tussle.0 to 200 men. And although you may not have a dozen square inches to a man,’ the masters of the situation say, ‘Don’t, Mr. Hemsley, pack the men in like pickles in a bottle; we can’t afford to let any one Jim Crow be a Jack-in-the-Box.’

“Yes,” continued Mr. Hemsley, “this is the eighth or ninth time that I have constructed the scene for Tommy’s last tussle. Last year it was Africa; the year before Egypt; this year it’s the frontiers of India, we are among the hills and the Afghans. Here is the model, and we will go over the field together if you would like. To begin, the circus ring of the tournament represents the valley. The attacking force take up their first position at the lower end of the ring. No, I don’t know, there may or may not be larger business; but there is to be no puddle, no river to cross. The defenders will occupy – although at first not a soul will be discoverable – the top of that ring. Look out! – there’s a plank settling your top hat.” The workmen were clearing up for the night and had not noticed us standing under the ledge of a big rock.

“Either you or I shall have to call an ambulance if we stay where we are,” is Mr. Hemsley’s remark. “Here is the plan of battle – you have cast your eye on the model; now turn your own anticipatory war correspondent, and as far as my knowledge goes, I’ll check you.

The Battle.

There was nothing for it but for the writer to accept the position and become his own Mahatma, and by the help of official paper and print to describe what will take place. First of all, you must have an inkling of where you are. Our reproduction of Mr. Hemsley’s model supplies the key. You are on the North-West frontier of India; and this is just what happens/ A cavalry patrol is dispatched to reconnoiter. The 4^th Queen’s Own Hussars use their field-glasses and their wits and find nothing. To all intents and purposes there is not a single soul about the place. They pass the work “All’s well” down the line (or along the telegraph) to the infantry in the rear. But the hill chaps are wily boys. They are just as brown as mountains, and “you never quite know where the devils are” – as Tommy invariably says of his enemies, be they black, white, or mulatto. Unless it is the wet season, these hill roads are as dry as tinder; water is invariably at a premium. So, the Royal Engineers, who are always with us on the war-path, are ordered to sink a Norton tube well. They tap a spring; the horses are watered and the calvary push on.

The advance infantry now come to the front, bringing with them a Maxim, and it is bound to the latest horseless carriage, a tricycle. “Halt!” “pile arms!” are the words of command by the well; and Tommy’s chefs set about cooking dinner. But every day in active service is not all April sunshine. Look! The Afghans have slipped out of their hiding-place, the fort, and have stealthily crept in an out among the stones till they are on the threshold of the camp. The hill chaps, in their varied uniforms – jackets and overcoats as full of colours as a garden sidewalk – make a “rush.” No: our lads in red don’t turn tail. They stick to their guns and form a square with their Maxim as a centre, The stand is for death or glory. British Tommy is nearly wiped out. Mow the jiggers down as he may, his enemies appear to be as thick as the pebbles by the seashore. Virtually victory is in the hands of the hill men. Bang! Bang! Goes the Maxim; and the bullets for the last time whizz their Death rattle. All is up. The white feather, the flag of truce, may be fluttering in a minute. Suddenly a cheer rends the air, and rings and echoes as it runs along from mountain to mountain, Tommy has found his Blucher – reinforcements at hand. All the world says, “Is anything so thrilling as a British cheer?” The Afghans are affrighted – giving full vent to their personal yah-yahs they beat a hasty retreat. Up, up the hill they scamper, and if the can help it our lads in red must not follow them. So, looking to make secure their retreat, they cut away the bridge, and thus – see – they make good their escape.

And what a cheer it is! Foe a body of bluejackets are amongst those to the rescue. They have their “barker,” too – a 7-pounder. Watch them as they climb like cats up and over the rocks and pray that you and your son and your son’s sons may have the heart of a sailor. The bluejackets hold the position; they pepper and salt the Afghans. And whilst their shower of lead is doing its duty, the bridging battalion of the Royal Engineers have built a new bridge across the ravine. The Afghans are good marksmen. True, their guns are old omen, but by a slice of luck they have managed to put the 7-pounder out of action. The sone of Neptune, however, are not dismayed. Actively they repair the fluke; they gun is again quickly playing “Rukshons” with the enemy. There is a hip, hip, hurrah! A struggle as to who shall be first over, and upwards and onwards, right into the teeth of the enemy, go our men, their guns and their horses. Huzzah after huzzah like peals of thunder play on our ears. They are storming the fort. It is almost a shoulder-to-shoulder tussle. As one man drops out another takes his place. Wilder and wilder grow the cheers. At last, the gate succumbs – with a hip, hip, hip, hurrah! In they go. The Union Jack floats over the fort – once more, the days is ours. Then the band plays.

But the sham battle would not be true to nature if the horrors of war were quite overlooked. The ambulance corps are as busy as bees; a hospital is erected’ the wounded brought in and dealt with.

The music plays “God Save the Queen,” you rise, lift your hat, and leave your seat. The mimic war for to-night is over.

The other great sight at the Tournament is the pageant of the “Sons of the Empire,” and this we shall describe and illustrate in our next week’s issue.”

Hemsley also continued to paint act-drops. When the New Queen’s Theatre, Longton, opened The Era reported, “The act-drop which was much admired, has been painted by W. T. Hemsley, the well-known London scenic artist and represents Trentham Hall, a favourite place for the residents of the neighborhood” (May 23, p. 11). The building was designed by Frank Matcham.

On May 29, 1897, The Era reported that Hemsley would also paint the new drop curtain for the New Fulham Theatre, stating, “The drop curtain will be from the brush of the well-known scenic artist, W. T. Hemsley” (p. 11).

In 1897, Hemsley painted scenery for C. P. Levilly’s touring production of La Poupee. On Sept. 18, 1879, The Era described his scenery at the Prince of Wales’s Theatre: “Mr. W. T. Hemsley has painted some capital interiors; and the fine tableau of the doll-warehouse in the second act argues excellent stage-management and liberal outlay” (p. 10). Hemsley also painted scenery for The House That Jack Built, or the little old woman who lived in a shoe, also written by Arthur Sturgess, the author La Poupee. Hemsley was one of several artists who painted scenery for the show. On Dec. 21, 1897, The Liverpool Mercury reported, “Elaborate and Beautiful Scenery designed and painted by Messrs. W. T. Hemsley, T. E. Ryan, W. P. Warren and E. G. Banks” (p. 1). Another article published about the production on Dec. 23, listed the scenes and the respective artists for each: “Scene I – Anywhere Junction (W. T. Hemsley); Scene II – The Village of Collywobble (W. T. Hemsley); Scene III – The Squires Back Garden (E. G. Banks)l Scene IV – Exterior of the Shoe (W. P. Warren), Scene V – Fairy Glade in Spring (E. G. Banks), Scene VI – Haunted Thicket and Lonesome Waste (W. P. Warren), Scene VII – The Squire’s Library (E. G. Banks), Scene VIII – Margery’s Gymnasium (W. P. Warren), Scene IX – The Terrace and Grounds of Jack’s House (E. G. Banks), Scene X – Overlooking the Mersey (W. P. Warren), Scene XI – The Prince’s Palace (T. E. Ryan), Britain’s Glory Grand Electrical, Finale.”

Descriptions of Hemsley’s scenic contributions near the end of the nineteenth-century were still included in articles about various shows but became much less descriptive. Commentaries on his work were brief and included the words, charming, handsome and picturesque. His projects included Much Ado About Nothing, Les Cloches de Corneville, The New Barmaid, The Babes in the Wood, On the Flat, Thou Shalt Not Kill, The Blind Witness, and others.

Hemsley was included in an article, entitled “Scene-Painters and Their Art” by Frederick Dolman for Cassell’s Magazine (Vol 19, p. 620-624). A lengthy excerpt from this article was also published in The Era on Nov. 11, 1899 (p. 9).

W. T. Hemsley in his studio at his palette, 1899.

Extant palette in the paint room at the Citizen’s Theatre, Glasgow (formerly known as the Princess’s Theatre).

Here is the article in its entirety as it helps provide context for Hemsley’s life and career at the turn-of-the-20^th-century.

SCENE-PAINTERS AND THEIR ART.

BY FREDERICK DOLMAN.

ART with a capital A still looks down upon scene-painting, I suppose, as a sort of poor relation. Yet there can be little doubt but that the stage, rather than the picture-gallery, is the dominating influence in popular ideas of form and colour. For every visitor to Burlington House there are a dozen to “Drury Lane,” the “Lyceum,” and the “Adelphi.” The R.A., it may be said, paints for the classes, but the successful scenic artist exhibits his work every night to both classes and masses. But the one paints pictures by the square inch, the other by the square foot. Therein, of course, is all the difference.

Under the heading of “Scenic Artists” in the London Post Office Directory, you will find nineteen names and addresses; and of the names, probably theatre-programmes have made half a dozen more or less familiar to playgoers. This is not to be taken, however, as quite a complete list of even the leading men in the profession. It does not include, for instance, Telbin, whose “painting room’ is at Blackheath, nor Hawes Craven, another veteran, who works at the Lyceum Theatre-for whose service practically all his scenes are produced. You may rightly infer from it, however, that scene-painting is one of the smallest professions, even when full allowance is made for its provincial members and for artists permanently attached to particular theatres. With the multiplication of theatres, and the increasing expenditure on their productions, it would probably be much larger but for the contemporary convention which limits a play to three acts.

To see the chief scene-painters at their work, you must to-day go, not behind or above the stage of the principal west-end theatres, but to their own independent. painting rooms,” situated mostly in the south-eastern postal district. The disappearance of what in theatrical parlance was called the “stock system” has changed the scene painter’s lot even more than the actor’s. Instead of holding a salaried appointment to one theatre, he is now a professional “freelance,” working in turn and on contract for a number of theatres.

“The Lyceum,” said Mr. W. T. Hemsley, when I was discussing with him this important change in his vocation, ” is about the only west-end theatre left which permanently employs one scenic artist. In one or two London houses, and in a few provincial theatres, where big pantomimes are produced, a man may be employed all the year round on salary, but his work consists chiefly in painting pantomime scenery. For every new production in London two or three artists are specially engaged, probably doing a scene apiece, on terms arranged in accordance with the scenery required; and the same thing is true when the piece is sent on tour and fresh ‘sets’ are required. Under this system nearly all stage scenery is now produced in London, although there are one or two provincial ‘painting rooms,’ which are supported chiefly by the cheaper kind of touring companies.”

The new order is almost entirely for the better from the scene-painter’s point of view. For one thing, he works under much healthier and pleasanter conditions than were possible in the theatres, where the “painting rooms” were usually over “the flies,” devoid of natural light or ventilation. But buildings in which the necessary equipment can be put are not easily obtained at reasonable cost. Mr. Telbin works in what was once a volunteers’ drill hall, Mr. T. E. Ryan has converted a mission chapel off the Walworth Road to his uses, whilst Mr. Hemsley has had his painting room, near Westminster Bridge, specially built for him. For some time, Mr. Joseph Harker used the “painting room” at the old Her Majesty’s Theatre; and when this was demolished, he took refuge for a time at Astley’s. He has now established himself in a cabinet-maker’s factory-partly reconstructed for the purpose-at Kennington Green. Mr. Walter Johnston, of Macklin Street, Drury Lane, is, I believe, the only scene-painter who has found it practicable to carry on his profession in the immediate neighborhood of stageland.

At theatres of average size, a “cloth “-the technical word for a scene-measures about thirty-six feet wide by forty-four feet long. Covent Garden Opera House, which has the largest stage in London, will take one forty feet by seventy. How to paint this immense area of canvas in one piece was a problem for a long time unsatisfactorily solved by placing it flat on the floor, the artist bending over it and laying on the colour with a long brush. This is still the method in vogue on the Continent, but English scene-painters have found a more excellent way. The “cloth” is tacked on to a wooden frame perpendicularly, and raised or lowered, as the painter may require, by means of a windlass. For this a fairly lofty building is necessary, having, as a rule, only one floor, through which there are apertures for such scene-shifting, and the basement being used by the carpenters who make the frames. In large painting-rooms, such as those in which I saw Mr. Hemsley and Mr. Ryan at work, you would easily imagine yourself behind the scenes at the Lyceum or the Adelphi but for the daylight and fresh air admitted by the windows and skylights.

“When a commission is given to you for a scene in a new production, how do you set to work?” I asked Mr. Ryan as we sat, a few feet away from “Venice,” destined to be the background of the Gaiety stage in the second act of A Runaway Girl.

“I first get my instructions from the manager – and sometimes from the author – as to what is wanted. They may be very full or very meagre. Some managers know exactly what is required, others have only the vaguest idea. Of course, I much prefer to work to work for the man who is able, verbally or on paper, to tell me definitely the scene he wants.

“A plan of the stage with its peculiarities, impediments, arrangements as to lights, etc. clearly marked, and made according to scale, is then sent to me. With this plan by my side, I make a cardboard model of the scene. Upon my model I always spend a good deal of care and time, everything being exactly according to scale. The model is then submitted for the manager’s approval. One or two slight alterations may be suggested; but, if my instructions have been explicit, the model, as a rule, is promptly returned, and I am ready to begin work on the actual scene. Sir Augustus Harris was an ideal manager for the scene-painter. He chose those whom he considered the best men for particular kinds of work, gave in a few words the most lucid directions, and then, trusting their ability, troubled them no more till their work was finished.

These “models” of which several were standing about the “painting room” looked, at a general glance, just like miniature theatres of the nursery. But a closer inspection revealed the care which had been bestowed upon every minute detail, each little picture having a perfect finish, such enables you to realize it as though it were presented on the stage of a theatre of bricks and mortar, instead one of cardboard and paste. Among others were two models of Macbeth scenes for Mr. Forbes Robertson’s production of the tragedy at the Lyceum.

“Is new scenery always painted for a revival of this kind?”

“Oh, yes, when an actor like Mr. Forbes Robertson is concerned. Of course, Mr. Forbes Robertson could easily hire Macbeth scenery; but then he has ideas of his own about the production, and his scenic arrangements must differ in various important points from those, say, of Irving’s Macbeth.

What becomes of the scenery, the reader may ask, when a play is withdrawn? Well, the leading London actors who are occasionally or permanently “in management” store scenery for future wants. A good deal of scenery used in London productions passes at the end of the “run,” into provincial towns.

The model having been approved, it is placed in the hands of carpenters, to enable them to make the necessary framework.

Canvas, of much the same kind that any artist would use, is then cut and stitched, and tacked to the frame after it has been placed in position ready for the work of the artist. The painter first outlines his picture in chalk or charcoal. In use of his pigments, which are. Of course, always mixed in distemper, the scene-painter has always to remember that his picture is to be seen by artificial light. He must, for this reason, emphasize his yellows, and avoid powerful greens, because they will look coarse, and deep blues, because they will become black.

In other respects, the scene-painter proceeds with his work on much the same lines as would the picture-painter; having filled in the background, he colours and tints with an eye to the general effect a few yards, instead of a few feet, away. But, in addition to the main picture, there are “wings” and “top cloths” to be painted, besides “relief work,” which calls for the art of the sculptor as much as that of the painter. Then the whole thing has to be carted away to the theatre and “set” to the satisfaction of artist, manager, and, possibly, author.

Scene-painting carries little fame, and that not of an enduring kind. Is it a lucrative profession? This is a delicate matter to touch upon in conversation with its representative men; but I should think, from what they told me, that in recent years their gains have been largely on the increase. Theatrical managers are often unsparing if the completeness and accuracy of a scene are at stake. Mr. Ryan told me that he charged the same prices, irrespective of the theatres for which he was working, and mentioned three weeks as a reasonable time in which to execute an order for one scene. It should be added, however, that all the leading scene-painters employ one or two young men as assistants, as well as several artisans in some cases.

In the training of scene-painters the art of the studio joins with that of the stage. Mr. Harker is the son of an actress; and during early life, when he saw much of the stage, he studied under John O’Conner, who was a member of the Royal Institute of Painters in Water Colours. Mr. Hemsley in his youth was an engineers at Swindon, but he spent his leisure at the local art classes, and owed his first engagement, at the Worchester Theatre, to a knowledge of mechanics, coupled with his work as scenic artist to the Swindon Amateur Club. Mr. Telbin and Mr. Ryan, on the other hand, have, I believe, got all their art knowledge from scene-painting rooms. But it is likely that in the future all the leading scene-painters will be well-trained in the theory of the art, for most of articled pupils now serving in the painting rooms obtain outside instruction in art schools. It may be taken as a sign of the closer union between scene-painting and the art of the Royal Academy that Sir Alma-Tadema’s assistance should have been secured by Mr. Beerbohn Tree in preparing the scenery for Julius Cæsar, Mr. Joseph Harker and Mr. Walter Hann painting their “cloths” under the guidance of the Academician most distinguished for his pictures of classic Rome.

The same year that the article was published, two of Hemsley’s pantomime sets for Dundas were taken out of service and sold. On Aug 19, 1899, Henry Dundas published the following in The Era: “For Sale, an excellent Pantomime Production of Aladdin” Complete set of “Bo-Peep.” Both painted by Mr. W. T. Hemsley. Full particulars. Henry Dundas, Theatre Leamington (p. 24). The world of scenic art was starting to shift, but the demand for act-drops remained steady. In 1899, Hemsley painted act drop for the New Hastings Theatre. It was located on the same site as the previous Empire Theatre of Varieties in Hastings (The Era, 1 April 1899, p. 1). The following year he painted another act-drop, this time for the Gaiety Theatre in Douglas on the Isle of Man. It was my close examination of Hemsley’s act drop at the Gaiety Theatre that renewed my interest in this particular individual. Although I had encountered pictures of both Hemsley and his studio over the years, I was suddenly driven to learn more about the life and career of this extraordinary artist.

In 1900, Hemsley also painted a new act drop curtain for the Grand Theatre, Derby. It was part of F. W. Purcell’s £7,000 renovation of the space (The Era 11 Aug 1900, p. 29). As with the Gaiety, this was another Frank Matcham design.

In 1901, the Hemsley household included William (50 yrs.), Fanny (48 yrs.), George (24 yrs.), Harry May (28 yrs.,), Ivey (16 yrs.) and Grace (14 yrs.). William and George listed as “scenic artist and sculptor” for their occupation, with Harry listing only “sculptor” for his at the time. However, Harry was also a skilled artist. His experience while drawing children fueled his later career as a child impersonator. There are extant films on YouTube from the 1920s that show Harry’s impersonating skills. Here is one link: that shows Harry’s skill as an artist and impersonator: https://youtu.be/C7YG_0w3cPg?si=icThxT7N6YXsP9Sb Harry’s career is another rabbit hole that I could easily get sucked into. I will have to stop with a 1927 article that gives a little history. On May 26, 1927, The Guardian published an article about Harry, still remembering his father, “W. T. Hemsley, the eminent scenic artist” (pg. 12). The article reported, “[Harry] himself is an artist, and at an early age of sixteen was a regular contributor to many pictorial magazines. His principal studies were children, and on nearly all occasions when exhibiting at the Society of Arts invariably disposed of those pictures which represented child life. He has a natural attitude for imitation and since children were his principal models, every opportunity was afforded him of studying their habits and idiosyncrasies. All his stories and observations as taken from life, and his mimicry is considered to be lifelike.” In 1904, Harry married Rose Florence Kingswell.

Some of Hemsley’s designs from 1902 to 1907 are listed at Theatricalia.com. Sadly, they represent only a small sampling of his work. Designs listed include:

Dr. Nikola Frank de Jong and H. S. Parker with his son, George Hemsley, at the Princess’s Theatre, London (1902).

Two The Eternal City tours for Herbert Beerbohn Tree (1902-3 and 1903-4).
The Darling of the Gods for Herbert Beerbohn Tree at His Majesty’s Theatre, Haymarket, London (1903-4)

The Taming of the Shrew for Oscar Ascheat the Adelphi Theatre, London (1904-1905).

The Darling of the Gods at the Prince’s Theatre, Bristol (1904-1905)

Richard III for Herbert Beerbohm Tree at His Majesty’s Theatre, Haymarket, London (1906-1907).

Despite a reduction of details about Hemsley’s scene painting projects in newspaper articles, he was certainly not fading from the public eye. 1905 30 March p 10. Manchester Courier and Lancashire General Advisor. “Scene Painters. Retrospect and Appreciation.” The work of both George Hemsley and W. T. Hemsley were included in the article. That year the Scenic Artists’ Association held an exhibit at Grafton Galleries. On April 11, 1905, The Birmingham Post reported, “The work of the best-known scenic artists is often seen and admired in the course of a year by a greater number of people than even the most brilliant efforts of painters with a world-wide reputation; but those who appreciate the wonderful settings which are a feature of so many dramatic productions fail to realize that their creators must possess the ability to wield a brush upon an ordinary-sized canvas, as well as upon material destined to assist in presenting life and nature behind the footlights. Between three and four hundred specimens of this position of the output of those whose names appear on programmes after the words “scenery by” have been gathered by the Scenic Artists’ Association, and are being exhibited during this week at Grafton Galleries, among those represented being Sir Lawrence Alma-Tadema, R.A., the late Sir Edward Burnes-Jones, Mr. Hawes Crave (the president of the association), Mr. W. T. Hemsley, Mr. Walter Hann, Mr. J. C. Harker, Mr. W. Telbin, Mr. Edward G. Banks, Mr. R. C. McCleery and Mr. W. B. Spong. The collection is very interesting, and many works are valuable, from both artistic and commercial standard; while an attractive section is devoted to a number of models for scenes, such as are prepared for the consideration of theatrical managers before the carpenter and artist commence on the finished article. Several of those shown are familiar to the playgoer, as they have recently been seen in their completed form, which, however, is hardly more elaborate that the model. Among them is a clever representation of “Sunrise,” which has been put together by Mr. W. R. Young, of the Prince of Wales Theatre, Birmingham, who has also sent a charming little painting depicting the Malvern Hills” (p. 6).

Two days later, another article, entitled “Scenic Artists’ Association” again mentioned Hemsley’s contribution to the exhibit. On April 13, 1905, The Times reported,

“Scenic Artists’ Association,- The Scenic Artists’ Association, which was founded last year, is holding at the Grafton Galleries a week’s exhibition of drawings, paintings, models of scenes and other things, most of them the work of the members, some of them sent by members and friends. Scattered among the works of the living artists – for no one who has visited the exhibition will hesitate to grant the living exhibitor’s right to the term – are a. few well-known old masters, examples of David Cox, Sam Bough, the Leitches, Nasmyth, Clarkston Stanfield, and W. J. Callcott. Mr. W. T. Hemsley sends a very interesting collection of the works by W. R. Beverly, and Mr. Gaskin contributes a small painting by an artist whom every scene-painter must regard with reverence and gratitude, de Loutherbourg. Another interesting feature is the sketches for Shakespearian scenes by John and Thomas Grieve, and one notable exhibit is Sir Edward Burnes-Jones’s “Passing of Arthur.” Of living members of the association, Mr. W. Telbin is well-represented; the president, Mr. Hawes Craven, sends a number of charming things, the most popular of which will probably be the series of black-and-white drawings for scenes in King Henry VIII. ; and among a number of works by other well-known names we may single out those of the Hemsleys, of Mr. Harker, Mr. Hann, and Mr. A. E. Bramley, and some beautiful things by Mr. R. C. McCleery. In the furthest room in the gallery is a collection of models and scenes, and here the visitor may see Mr. Telbin’s shipwreck in The Tempest and his church scene in Much Ado About Nothing; Mr. Harker’s beautiful garden scene, with the maze, in A Clandestine Marriage; Mr. W. T. Hemsley’s Act I of The Prayer of the Sword, and many other well-remembered views. The same room contains a small exhibition of curios, Shylock’s scales and Macbeth’s daggers used by Phelps, a prompt-book interleaved with sketches and notes by the same great actor, some old playbills and books on theatres, and a very fine set of illustrations of the Teatro Manzoni in Milan. The whole exhibition, through apparently rather hastily put together and not over-clearly arranged and catalogued, is of great interest to all who care for scenic art and its relation to other branches of pictorial art, but a further attraction may be found in the excellent little concert-recitals which are given every afternoon between 3 and 5. Several good names appear on the programme for each afternoon” (page 4).

Hemsley’s theatrical contributions for the next decade included W. W. Kelly’s London Co. production of A Royal Divorce at the Pleasure Gardens Theatre. On June 18, 1910, the Folkestone Express, Sandgate, Shorncliffe and Hythe Advertiser reported, ““The dresses and scenery are most praiseworthy, and perfect in details, the well-known scenic artist, Mr. W. T. Hemsley, having specially prepared the canvas scenes representing the palaces and gardens wherein Napoleon and his consorts passed their home-life. There, too, is the little inn at Genappe, and in this act there are two wonderfully realistic tableaux, representing the Battle of Waterloo and the overthrow of the Emperor. The last act shows Napoleon exiled to St. Helena – the departure from Plymouth Harbour.”

Hemsley gained international recognition during the last few years of his life. His name made California newspapers in 1914. On March 23, The Los Angeles Evening Express announced the debut of the Stratford-Upon-Avon Players at the Mason Opera House for a week-long engagement, reporting “Entirely new scenery was provided for this American tour for the whole repertory, the order being executed by W. T. Hemsley of London, the leading scenic artist of England” (p. 18). The repertoire included The Merry Wives of Windsor, King Henry the Fifth, The Merchant of Venice, King Richard the Second, As You Like It, and Hamlet.

Three years later Hemsley was featured in The Hippodrome Magazine, London (October 1917). His portrait was included with the caption, “Mr. W. T. Hemsley, One of Great Britain’s Leading Scenic Artists. The article was entitled “A Famous Scenic Studio. Mr. W. T. Hemsley and His Work.” The article reported, ‘All the World’s a Stage’ – said Shakespeare. If it were we verily believe it would be W. T. Hemsley who would be called upon to provide the scenery. No man has greater experience or possesses more intimate knowledge of the great Scenic Art than this painter, whose latest work for the successful play, Three Weeks at the Strand, shows how thoroughly he appreciates the poetical as well as the practical side of his Art. Although W. T. Hemsley goes back to the days when London had its summer and winter theatres, he has never failed to keep well ahead of the times, and with each new production in London, has actually increased the reputation that he has built up during a period considerably over a quarter of a century. Whilst Mr. Hemsley never overlooks the past and is never tired of telling of the theatrical geniuses whom he continually came in contact, he realizes that these are modern times and that it is the 20^th century who is his Commander-in-Chief. This is the reason -a very good one, too – why, at his studio on Felix Street, Westminster Bridge Road, we find the most up-to-date paint rooms in London. Although one of the most characteristic of men, W. T. Hemsley is modern in his methods, and he could not have kept – as he had done – his finger on the pulse of the playgoing world if this had been otherwise. True, he belongs to an era of individuality, and there is not a more popular man in Bohemian Theatrical like than “W. T. H.” Beloved by all who know him and undertook him or work under him, he is the doyen of scenic artists, and the modern producer, like the producer of the past, relies upon his sound judgement and practical advice. Originally a cartoonist on the public Press, Hemsley at an early age took an active interest in scene painting, and it was not long before, young and ambitious, he was controlling the Grand Theatre, Islington. That was considerably over thirty years ago, and soon afterwards he established his present paint rooms. There is scarcely a production of importance in which his name and brush have not played a prominent part. The later Sir Herbert Tree – to come down in the West End, for the London Opera House, this being but one of many that he has executed for the West End and Provincial places of amusement. Distinguished by its beauty and originality, its accuracy and loyalty to the period it represents, the scenery of W. T. Hemsley has won the unrestricted admiration of the British playgoer. His son too – George Hemsley – who did so much to further the interests of scene painting in India, possesses many of his father’s attributes – and they are manifold – for W. T. Hemsley is endowed with a wonderful and a remarkable gift for retaining it, that few scene painters in England or on the Continent can equal.”

Less than four months later, Hemsley passed away. On Feb. 5, 1918, the North Mail, Newcastle Daily Chronicle announced,“Well Known Scenic Artist Dead. Mr. W. T. Hemsley, a Native of New Castle.” His obituary notice continued, “The death was announced yesterday of Mr. W. T. Hemsley, the well-known scenic artist at his residence, The Chase, Clapham Common. He has been ill for some months. Mr. William Thompson Hemsley, who was in the front rank of scenic artists, was born at Newcastle in 1850, and was a grand-nephew of John Graham Lough, the eminent sculptor. At an early age Mr. Hemsley went to Swindon to work at engineering, and there spent leisure time at the local School of Art. When only 16 years of age he obtained a teacher’s certificate and also the Society of Arts’ first-class certificate. Mr. Hemsley became acquainted with the later Rev. J. M. Bellew, father of Mr. Kyrle Bellew, and by him was introduced to Mr. Augustus Harris, sen., at Covent Garden Theatre, and to Mr. J. O’Connor of the Haymarket Theatre, obtaining through the letter of engagement with the late Mr. Beverly at Drury Lane. While Mr. Hemsley was studying at the Lambeth School of Art, Mr. Tom Taylor, the celebrated dramatist, frequently selected for him subjects and criticized his sketches, and notably highly commended his composition of “The Lady of the Lake.” In 1874 Mr. Hemsley returned to Swindon, and there his artistic ability was recognized by Charles Mathews, who gave him and introduction to Miss Sarah Thorne at Worcester, and for some years he remained under her management at Margate as resident scenic artist. On the conclusion of the ninth successful pantomime, Mr. Hemsley was presented with a valuable gold watch, engraved with a testimonial. This was in 1885, and it was while painting scenery at Margate Mr. Hemsley filled up his time by drawing caricatures for a local newspaper, and then went on tour to do lightning caricatures. While resident artist at Sadler’s Wells Theatre, Mr. Hemsley painted scenery for Kyrle Bellew’s production of ‘The Corsican Brothers,’ and for Miss De Grey’s Shakespearian productions. Mr. Hemsley then went to the Grand Theatre Islington, and a little later, entering into a partnership with the late Charles Wilmot, he opened a scene factory in the Belvedere Road, and there painted scenery for Mr. F. R. Benson’s fine production of “The Midsummer Night’s Dream” at the Globe Theatre. In 1892 the partnership was dissolved, and Mr., Hemsley opened on his own account large studios in Felix Street. Mr. Hemsley’s special forte was a skillful combination of mechanical ingenuities allied to scenic effects. He painted for all the leading London theatres and was concerned with Mr. Hugh Moss in some sixty productions. He painted several years for the Cambridge University, and for Mr. Henry Dundas all the reproductions of the Drury Lane successes. He painted upwards of fifty act-drops for the new provincial theatre, and also did work for the principal London music halls. He took a very active interest in the Scenic Artists’ Association and was one of the original members of the council management.”

Similar announcements made newspapers all across the country. The Norwood News added, “There is hardly a West-end theatre which, since then, he has not furnished with convincing proof of his talent as a painter. He was responsible for the scene in many of Sir Herbert Tree’s “La Poupee,” and had also been associated with the productions of Mr. Arthur Bourchier, Sir Frank Benson, Mr. Lewis Waller, Sir. J. Forbes-Robertson, and Mr. Oscar Asche. He began scenic work fifty years ago by painting the stock scenery for the Mechanics Institute at Swindon. He was a member of the Savage Club. With him the readiness was all, and the celerity with which he would provide a humble interior, a palatial edifice, or a garden set was quite remarkable. He knew, as he was known by, everybody, and his fund of good stories and interesting reminiscences was practically inexhaustible. He will be sadly missed by his many friends and acquaintances.”

Detail of W. T. Hemsley’s Act-drop for the Gaiety Theatre in Douglas on the Isle of Man.

To be continued…

Travels of a Scenic Artist and Scholar. The Gaiety Theatre Act Drop by William T. Hemsley.

Throughout my career, I have encountered examples of scenic art that took my breath away. My most recent experience occurred during a visit to the Gaiety Theatre and Opera House in Douglas, Isle of Man.

The act-drop, painted by William Thompson Hemsley (1850-1918), is exquisite.

Photograph by Mike Hume while I am attempting to document painted details.

It is obvious that Hemsley was at the peak of his painting career when he produced this large-scale artwork. Hemsley’s economy of brush stroke and color combinations are quite remarkable. In fact, they are inspirational. Seeing this drop should be on every scenic artist’s bucket list. You will learn so much about the brevity of scene painting when examining his work.

Detail of dancer’s foot in W. T. Hemsley’s act drop at the Gaiety Theatre.

This post will examine Hemsley’s drop in detail, placing it within the context of theatre history. It will also examine its current condition and past repairs. My next post will look at the life and career of scenic artist W. T. Hemsley (1850-1918). Then I will continue with my last two theater visits in the UK during September 2023.

As with most front curtains for Victorian performance venues, Hemsley’s design for the Gaiety Theatre unifies the auditorium’s color palette and décor. Although the central subject exhibits an exotic eastern theme, the painted surround seamlessly blends with the architectural surround and auditorium designed by Frank Matcham.

Detail of painted curtain next to proscenium arch.

Detail of painted curtain next to proscenium arch.

I am going to briefly touch on theatre terminology first. Hemsley’s “act drop” design is identical to many “drop curtain” designs in the North America. Drop curtains, also labeled in the US as front curtains and main rags, were frequently lowered in between acts, unless an advertising curtain was employed. In many cases the terms act-drop, drop curtain, painted front curtain, and main rag can be used interchangeably. Terminology is based on where you live. It is very important to not get caught up in the name, but to look at the actual function of the scenic piece. I think of the dispute between “hot dish” and “casserole” in the United States. They are both a one-dish meal, baked in the oven. Same thing, different name.

Back to the act drop…

This type of scenic design frequently includes a central “painting” – one that often replicates a popular artwork or subject matter. This central “artwork” is surrounded by an ornate frame, draped in lush fabrics. These drop curtains were often the pinnacle of an auditorium’s décor, tying everything together while concealing the magical realm behind the footlights. As audience members waited in their seats for the show to start, or the next act to commence, the drop curtain (act-drop) provided theatre patrons with an opportunity to study the grand work of a scenic artist. The proscenium opening became a gallery wall, providing many scene painters with an opportunity to flaunt their artistic abilities. Painting a successful drop curtain required extensive skill, as well as a thorough understanding of distemper painting techniques for landscapes, architecture, draperies, and, in some cases, figure painting.

There is an article entitled, “Well-known drop curtains in Philadelphia, published in The Philadelphia Inquirer on Dec. 18, 1894.” It examines the significance and subject matter of drop curtains at the time. The article describes the work of Matt Morgan, Russell Smith, William M. Voegtlin, Alfred Voegtlin, Hugh Logan Reid, E. H. Chase, Lee Lash, Gaspard Maeder, and Frederick Schaefer, are featured in the article. Here is an excerpt from the article:

“The drop curtain is the most expensive piece of furniture in any playhouse. Managers are most solicitous about the care of a handsome drop curtain than almost any other appointment in the theatres. They are usually painted by the artists of wide fame in the peculiar branch of art which they represent, whose charges for the work range from $1000 to $3000…It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts, it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.”

Only a small percentage of historic backdrops that I have documented include figures, especially on those dubbed drop curtains. Most recently, I documented an 1897 drop curtain for the Forum Theatre in Bronzeville, Illinois (a community on the south-side of Chicago). The forum scene depicts very small figures to suggest the scale of their monumental surroundings.

Painted detail from Sosman & Landis drop curtain at the Forum in Bronzeville.

My hand showing scale of the figures on the Forum drop curtain.

The inclusion of larger, or full-scale figures, is extremely rare in extant scenery collections. In fact, the only times that I have consistently encountered figure-work is painted on scenes at Scottish Rite Theatres; specifically, group scenes for 18^th degree productions. For context, many North American Freemasons theatrically stage their “degree work”, like a morality play. It is performed for the educational purposes of members. Here are a few examples from Scottish Rite scenes for context.

Painted scene by Toomey & Volland Studio (St. Louis, Missouri) at the Masonic Theatre in Deadwood, South Dakota.

Painted scene by Toomey & Volland (St. Louis, Missouri) at the Masonic Theatre in Quincy, Illinois.

Although some of the work is quite skilled, in some cases there have been few questionable choices. This detail of a foot may simply indicate the speed at which these scenes were painted. Keep in mind that most American scenic studio artists were working in a factory setting to mass-produce painted illusion.

Painted detail from cut-drop created for the Scottish Rite Theatre in McAlester, Oklahoma, c. 1908. This painted scene is now used at the Scottish Rite Theatre in Salina, Kansas, USA.

The Gaiety Theatre act drop holds a unique place in World Theatre History, when considering not only the artistic skill of Hemsley, but also the subject matter.

When I first encountered Hemsley’s design for the Gaiety Theatre, it reminded me of a drop curtain design by scenic artist John Z. Wood (1846-1919). At the time, Wood was working for the Twin City Scenic Co. in Minneapolis, Minnesota. Wood’s design also incorporated a dancing girl. Interesting aside, Wood was born in England and emigrated with his family as a young both, eventually settling in Rochester New York. For more information about Wood and his artistic style, here is a link to one of the many posts that I have written about him: https://drypigment.net/2019/12/10/tales-from-a-scenic-artist-and-scholar-john-z-wood-scenic-artist-1846-1919/

Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.

Painted detail. Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.

Painted detail. Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.

Wood’s scenic designs are part of an online digital database.Here is the link to the design: https://umedia.lib.umn.edu/item/p16022coll116:1819

Sadly, Wood’s central composition is somewhat obscured under a layer of glue; another central design was pasted over this original composition at a later date. The original work was discovered when the Twin City Scenic Company Collection was catalogued, under the supervision of my mentor, Prof. Emeritus, C. Lance Brockman. Between 1999 and 2000, I assigned metadata to each of the artifacts. My familiarity with four scenery collections in the online database has allowed me to help link designs with extant scenery over the years. Here is the link to access the collection in its entirety: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

Although I have read descriptions of exotic eastern scenes for Victorian stages, few have survived. Here are some photographs of Hemsley’s act drop so that you can appreciate his skill and attention to detail.

Central dancer.

Dancer’s shoes.

Looking even closer at fabric and brush stroke.

Reclining man.

Hand detail of man in composition.

Detail of frame.

Fabric and frame detail.

Fabric and frame detail.

Painted detail of floral arrangement.

Painted detail of tapestry.

Another painted detail.

Painted fabric next to practical fabric.

Tassel detail.

Hemsley’s act-drop is the first fully-framed drop that I have ever encountered. It also meant that the cleaning of this act drop in the 1990s became problematic. The restoration team requested that the framed piece be relocated upstage and face the paint-frame floor. Roy McMillan describes the process in his book A Full Circle, 100 Years of the Gaiety Theatre and Opera House:

McMillan wrote,

“To carry out the work, the drop had to be removed from its fly-bar at the front of the stage, walked (that is, moving one end forward a few feet while the other remains stationary, then repeating the process with the other end) halfway to the back, rotated through 180 degrees, then re-flown and the cleaning done from the paint frame floor. When Mervin and David were releasing it from its fly-bar onto the floor, the side struts nearly buckled. The canvas ballooned out like a wind -caught sail; a few seconds more of the strain and the drop would have been gone forever…[They] managed to haul it back into its original position on the fly-bar and decided another method would probably be safer. It would, however, take more time.

They fixed the drop by three tie lines along a bar. It was moved back one side at a time, one bar at a time, with both of them clamoring up and down ladders to secure it or to untie it, to the center of the stage. Once there, two of the three ties were released, and the center left alone. The intention was to rotate it, so the painted side faced upstage and be attended to on the paint frame floor. But as they turned it, they realized that it was three inches wider than available. This was not a design feature of the drop or a miscalculation. It was because a bridge between the left and right side of the fly floor gallery had been built at the front of the stage, making it impossible to turn the drop round. This bridge was not in the original theatre and has since been removed to allow the house curtain to rise correctly, but it was very much present at the time. Faced with the choice of cancelling the first project of the restoration, or dropping the act drop onto the floor again, they chose a much more straightforward means of solving the problem. They cut a chunk out of the bridge…Once in position, the backing canvas was removed. On the painted side of the canvas itself, the copper-headed nails that held it to the frame had oxidized and rotted the canvas in the immediate area…Its delicacy meant it had to be repaired in situ and the frame rebuilt around it.”

The preservation of the painted composition is also described in McMillan’s publication. McMillan wrote, “In order to avoid glare when lit by the footlights the drop had to be painted in stage paint. This is a powdered water-paint mixed with size – a sticky, globby gel that serves as a fixative.”

[I am going to pause here to correct this statement. This drop was painted with distemper paint. The distemper painting process necessitates that dry pigment is turned into a paste and placed on the scenic artist’s palette. Some artists in the UK refer to distemper painting as Size Painting. Regardless, during the painting process dry pigment paste is mixed with diluted hide glue (size) on the palette and directly applied to the drop. The size cannot be used as “a sticky, globby gel.” If the size were this consistency, it means that it has been mixed too strong and will dry with a sheen, thus reflecting stage lights. When size it properly mixed, it will not gel, unless a studio is kept at an abnormally cold temperature. In my humble opinion, there is no way, that Hemsley (then at the age of 50 yrs. old) would have made this amateur mistake. If he had, the whole drop would look like the painting were sealed with a gloss coat.

Here is an example of a restoration process that used size that was too strong and formed a sheen.

Scene at Scottish Rite theatre in Louisville, Kentucky.

McMillan continues to describe the restoration process:“However, as it was water-based, if the surface was rubbed, the paint smudged immediately,”

[I must explain that distemper -“water-based”- paint is not subject to dusting unless the binder has failed over time. There are hundreds of extant drops, c. 1900 or earlier, that show no signs of dusting and are stable.]

McMillan continues “To clean it required an intermediary layer between the surface and the restorer’s brush. It was achieved using mulberry tissue paper, infused with a liquid that caused the dirt to soften on the paint surface and stick to the paper, leaving clean paint of the original drop beneath.”

I am curious to know what about the “liquid.” I have cleaned hundreds of historic scenes cannot envision how this process worked. However, it may explain the extensive spotting throughout the composition.

Spotting that looks like small areas of water damage as there are tide lines and pigment loss.

Areas with spotting near the bottom of drop.

Spotting that looks like small areas of water damage as there are tide lines and pigment loss.

In the past, I have removed both surface contaminants and embedded dirt from extant drops. If the pigment is relatively stable (meaning that the binder is still working) surface contaminants are easily removed with low-suction dust extraction, Absorene putty, and/or Absorene sponges.

Example of removing surface contaminants with low-suction dust extraction.

Example of using Absorene sponge to remove surface contaminants left after low-suction dust extraction.

Half of a scene that was cleaned at the Scottish Rite Theatre in Duluth, MN.

If the pigment is severely dusting, the loose paint must be consolidated so that it does not continue to dust. This is when conservators debate whether to remove the dirt and cause minimal pigment loss or encapsulate the dirt when the loose paint is consolidated.

McMillan further explains, “if the surface was rubbed, the paint smudged immediately.”

I don’t really know how to interpret this statement. When distemper paint comes into contact with any liquid, even a damp cloth or humid environment, the paint will immediately reactivate. This is why I don’t understand how “mulberry tissue paper, infused with liquid” works in removing surface contaminants from distemper drops.

If McMillan meant that the distemper paint smudged when dry, that indicates the binder was failing; the pigment dusting from the fabric.

Despite the hard work to preserve Hemsley’s work, the curtain is again compromised. There are a few scrapes that will need attention before the damage spreads, again compromising the longevity of the artwork.

Damage documented during my September 2023 visit. Thankfully, the cause of the scraping has been rememdied.

Detail of the damage.

Theatre backdrops are unique and cannot be preserved like large-scale paintings that hang in stationary positions on gallery walls. They are metamorphic in nature, intended to be constantly handled or shifted. That is magic of painted scenery; artworks that come to life under stage lights.

In early-twentieth-century North America, many stunning act-drops were replaced with fabric draperies, movie screens, or a combination thereof during the twentieth century, the original scenes long forgotten by theatre audiences. Instead of raising a painted curtain to reveal the mysteries of Thespis, heavy draperies were drawn apart to show a movie. The Gaiety Theatre has three front pieces:

Main draperies (that draw apart).

Hemsley’s act drop (also known as a drop curtain).

A contemporary advertising curtain (also known as an ad drop).

It is remarkable how each piece changes the energy in the auditorium. It is certainly a testament to the importance of what fills the proscenium opening.

My next post will be about the creator of the Gaiety Theatre’s act-drop, William T. Hemsley, scenic artist and sculptor.

To be continued…

Travels of a Scenic Artist and Scholar. The Gaiety Theatre, Isle of Man, Sept. 17-18, 2023.

Mike Hume, Rick Boychuk and I hopped a plane on the morning of Sept. 17, 2023. Our final destination was the Gaiety Theatre and Opera House in Douglas on the Isle of Man.

Our descent to the Isle of Man on Sept. 17, 2023.

A view of the countryside between Douglas and the airport. When the sun comes out, it is paradise.

For quite some time, this theater has been on my bucket list.

Why?

Because of the drop curtain, painted by William T. Hemsley (1850-1918). It is absolutely exquisite, and one of the best examples of historic scenic art out there.

Drop curtain at the Gaiety Theatre.

For years, I have searched for detail images of Hemsley’s painting technique in online photos. My next post will look at the painted composition in detail. This post is about everything else.

Our tour guide was Alex Davidson, Light and Sound Technician at Villa Marina and Gaiety Theatre. Both are located along the promenade in Douglas.

Mike Hume, Wendy Waszut-Barrett, Alex Davidson and Rick Boychuk, in front of the Gaiety Theatre, Douglas, Isle of Man, Sept. 18, 2023.

For geographical context, here is a map with the location of the theater.

The theater is right near the red box that says ” You are Here.”

The garden across from the theatre, alongside the Promenade.

As the tide comes in later that day.

Another view of the Promenade later that day when the tide is in again.

A view of the theatre from the beach at low tide on the morning of Sept. 18, 2023.

Yes, we saw our share of rain. Especially when Mike and I went to visit the Laxey waterwheel on the morning of our second day in Douglas. By the way, Lady Isabella is the largest waterwheel in the world. Here are a few photos from our side trip.

The waterwheel in Laxey, Lady Isabella.

Another view of the water wheel.

Information about the water wheel.

Mechanical information.

But the sun came out by the afternoon. Back to the Gaiety Theatre…

Gaiety Theatre, Douglas, Isle of Man.

Designed by architect Frank Matcham, the Gaiety Theatre opened on July 16, 1900. It was constructed on the same site of a previous venue; an entertainment pavilion. Matcham’s design utilized many parts of the original structure, including the roof.

The Pavilion Theatre, Douglas, Isle of Man.

Interior of the Pavilion Theatre, Douglas, Isle of Man.

A portion of the Pavilion Theatre’s ceiling still remains in the gallery section of the auditorium.

Our visit to both the grid and dome above the auditorium ceiling gave us an opportunity to examine the original structure.

The original Pavilion Theatre roof and the Gaiety Theatre grid, with Rick Boychuk for scale.

Alex Davidson on the Gaiety Theatre gridiron.

Mike Hume next to the drum for the paint frame.

Drum for the paint frame below.

Above the auditorium dome, designed by Frank Matcham for the Gaiety Theatre. It was placed well below the original Pavilion Theatre roof.

Ornamental iron work remains above the current auditorium doom.

The original Pavilion ceiling was incorporated into Matcham’s design for the ceiling above the gallery.

Part of an original Pavilion Theatre arch was preserved in the stairwell.

Here are some photographs of the auditorium.

Grand drape at the Gaiety Theatre.

The ceiling of the auditorium.

Ceiling detail.

Auditorium boxes, house left.

Auditorium boxes, house right.

View from the house left box.

Another view of house right box and drop curtain.

View from the house right box.

Statuary near house right box.

More architectural details.

More architectural details.

Entrance to the Gaiety Theatre.

Behind the Main Drape.

Movable grooves, so that the wings can be angled.

Movable grooves, so that the wings can be angled.

Upstage. Notice the underside of the paint room and bridge.

Doorway to the paint room.

Paint room at the Gaiety Theatre.

Another view of the paint room.

Skylights for paint room. Alex pulled one of the shades. The angle of the light is perfect so that no shadows are cast on the frame when one is painting.

Movable paint frame.

Paint frame detail.

Paint room sink.

Windlass for the paint frame.

Another view of the windlass.

Under-stage machinery at the Gaiety Theatre.

Here are some images of the machinery below the stage.

Under-stage machinery at the Gaiety Theatre.

Under-stage machinery at the Gaiety Theatre.

The Corsican Trap at the Gaiety Theatre.

A working model of the Coriscan Trap.

A working model of the Corsican Trap. The model researched and constructed by Robert Stafford. The model was designed and painted by John Romayne.

The paperwork for the Corsican Trap Model with history and other information.

Under-stage machinery at the Gaiety Theatre.

Here is a link to see an 8-minute YouTube video of the Gaiety Theatre Traps in action, including the Corsican Model and Corsican Trap: https://youtu.be/-TyNJKbB88g?si=F7p7fEf_3Ah-K-Zh

If you are interested in learning more about this exquisite venue, please consider purchasing “A Full Circle, 100 Years of the Gaiety Theatre and Opera House” by Roy McMillan.

Here is a link to the venue’s website:https://www.villagaiety.com/hire-us/gaiety-theatre/

To be continued…

Travels of a Scenic Artist and Scholar. Theatre Royal, Drury Lane, Sept. 10-11, 2023

On Sept. 10, 2023, Mike Hume, Rick Boychuk, Grit Eckert, and I visited the Drury Lane Theatre.

Hume had scheduled a backstage tour with Michael “Biglad” Burgess-Shaw Head of Stage, Theatre Royal, Drury Lane. The tour was remarkable, both entertaining and informative as we explored the extensive the backstage area.

Rick Boychuk, Grit Eckert, Wendy Waszut-Barrett, Biglad, and Mike Hume backstage at the Theatre Royal, Drury Lane.

A view from above the stage.

Although everything was fascinating, my favorite part of the backstage tour was visiting the old paint studio. There is so much history spattered on the paint frames, walls, and floor. I have traced the careers of so many scenic artists who worked here. There is nothing quite like standing in the same spot where so many scenic artists, brush in hand, stood for decades.

The paint shop with four paint frames (two in the center).

Paint frame detail.

Paint frame detail, looking up toward skylights.

Next to the paint shop was the scenery storage area; now the main office. Old drops (from a touring production of Oklahoma) now decorated only one wall, now the sole legacy of a space that once housed so many more.

Photograph by Mike Hume. Extant “Oklahoma” drops on the wall.

Drops from a touring production of “Oklahoma” now decorate one wall.

Biglad, Grit, Rick, Wendy and Mike at Drury Lane.

We returned to the theater on September 11 for a front-of-house tour. Mark Fox showed us the rest of the building. We couldn’t have had a better tour guide. Fox is an amazing theatre historian, archivist and advertising manager for LW Theatres. Fox even wrote the book Theatre Royal Drury.

Wendy Waszut-Barrett. Mark Fox, Rick Boychuk and Mike Hume.

The Auditorium.

The Royal Box.

View from the Royal Box.

View from the balcony.

The tour wonderful! Mark’s passion about the building is evident, and he is full of fascinating information about the theater’s history, renovations, and decor.

Print of the auditorium.

Print of the rotunda and principle staircases.

The rotunda.

Looking across the rotunda.

Section of a main staircases.

Main staircase.

View from the exterior balcony.

View of the same balcony from the street.

Here are a few more pictures of highlights from our visit.

One of my favorite paintings – Fortunes by G. D. Leslie, RA. It was for the Royal Jubilee, 1887 Exposition. It is now on display in room behind the Royal Box.