United Kingdom Trips – Drypigment.net

Travels of a Scenic Artist and Scholar: Scenic Artist Nicholas Hinchey and the Normansfield Theatre

*Street scene roll drop by N. Hinchey, as viewed from the Normansfield Theatre balcony.*

My past few posts explored the scenery collection at Normansfield’s historic amusement hall. Built in 1879, scenic artists who painted scenery for the stage included Richard Douglass, John T. Bull, and N. Hinchey.

This post explores the life and career of Nicolas Charles Hinchey (1864-1919), a 19^th-century scenic artist who specialized in painted illusion and mechanical effects for scenic spectacles. Hinchey is credited with Normansfield’s extant street scene.

A replica of Hinchey’s work now graces the Normansfield Theatre stage, with Hinchey’s original painting in storage.

I have yet to examine the Hinchey’s street scene roll drop, or his signature on the backside, in person. Therefore, I solely relying on information and images about the roll drop that were published in John Earl’s Dr. Langdon Down’s Normansfield Theatre and a paper by Karen Thompson and Frances Lennard, entitled Normansfield Theatre Scenery: Materials and Construction Revealed Through Conservation.

Thompson and Lennard’s paper, they state, “The scenic painter ‘N. HINCHEY, SOUTH LONDON, PALACE LONDON ROAD, SE’ signed his name and address in his own hand on the back of the ‘Street Scene’ backdrop. His name appears only on this piece. The flats are painted on both sides so cannot definitely be attributed to Hinchey, but it is probable that his firm painted them as similar stylistic features have been used in the buildings. A depiction of a street scene backdrop appears in the earliest published drawing of the theatre when it was first opened, indicating this was possibly one of the theatre’s earliest sets (Earl 2010: 2).” They cite the drawing on page 2 in Dr. Langdon Down’s Normansfield Theatre by John Earl, first published in 1997.

The street scene composition in the 1879 Illustration is different than the one listed in the Normansfield Theatre Scenery Catalogue, featured on the cover of Dr. Langdon Down’s Normansfield Theatre.

I am skeptical that the 1879 illustration for the opening of Normansfield featured the work of a 15-yrs.-old scenic artist assistant. Previously, Normansfield theatrical entertainments credited John T. Bull with scenic contributions. Bull was the extremely well-known and well-respected scenic artist by the 1860s. Hinchey’s name did not make the news until 1882. That year,18-yrs.-old Hinchey assisted Richard Douglass and John Neville. Furthermore, Hinchey was not associated with the South London Palace Theatre until the fall of 1888. Therefore, his signature on the back of the drop indicates that is was produced sometime after the fall of 1888. In fact, in 1893 Hinchey painted scenery for a pantomime at Normansfield.

I am going to start with the actual design attributed to Hinchey at Normansfield before exploring the life and career of the artist. Many 19^th century stock scenery collections contained two types of street scene compositions, termed “Ancient” and “Modern.” “Ancient Street Scenes” depicted the old world, a village square or street that could be the backdrop for plays dating from the time of Shakespeare. “Modern Street Scenes” were used for contemporary dramas and comedies, set in the 19^th century.

The street scene pictured in the 1879 illustration reminded me of the street scene delivered to the Tabor Opera House in Leadville, Colorado, that same year. The only difference is that the Tabor Opera House street composition was painted on two shutters instead of a roll drop.

*Street Scene Shutter for the Tabor Opera House (Leadville, Colorado), painted by T. Frank Cox, 1888.*

I have pieced together bits of information from historic records and newspaper reports to tell the tale Hinchey’s life and career. This one took a far longer than I expected, hence the delay. Many difficulties stemmed from multiple men with the same name. This always means that I must track a variety of individuals before identifying the correct family and region.

Amazingly, there were three men named Nicholas Hinchey in the same family, all living in London:

Nicholas Hinchey I (1831-1910), father, musician and shoemaker

Nicholas Hinchey II (1864-1919), his son, a scenic artist

Nicholas Hinchey III (1890-?), his grandson, a scenic artist

In newspaper reports and historic records, Hinchey was also misspelled as “Hinchley.” For example, and advertisement for The Indian Mutiny, published in Chatham’s Medway News on Dec. 26, 1891, noted “New scenery and Original Effects by Mr. N. Hinchley and Henry Adolphus Payne” (p. 1). This always makes research a challenge. However, in addition to human error, there are additional problems that I encounter with transcription software. As I have noted in the past, various letters are not always transcribed as such. For example, “h” will become “li.” “S” will become “5.” So, the word “Shy” may be read by the software “5liy.”

When doing any research, I intentionally employ misspellings and a combination pf software errors. While searching for articles about Hinchey, I used “lincliey” [hinchey]. Despite these additional steps, it still beats the alternative of slowly scrolling through old newspapers – page by page. There is no way that I could piece together the lives and careers of scenic artists – especially those working outside of my US State – if I were solely relying on original sources in archives and rare book rooms.

Here is the tale of scenic artist, Nicholas Hinchey….

Born in 1864, Nicolas Charles Hinchey (II) was the son of Nicholas Hinchey (III) and Margaret Catherine Hinchey (1834-1910). He grew up in a whirlwind of music, as he was from a musically-gifted family. Both father and paternal grandfather (Walter William Hinchey, 1803-1870) were musicians, as were his two uncles, William Jr. and Walter Hinchey.

Nicholas (II) was one of five Hinchey children born to Nicholas (I) and Margaret Hinchey: Margaret Kate Hinchey (1862-1946), Catherine “Kate” M. Hinchey (1866-1940), Nicholas Hinchey (1864-1919), Walter Hinchey (1868-1947), and Charles Henry Hinchey (1872-1949).

By1870, the Hinchey family moved to Shoreditch. Here is a map of the three primary locations where scenic artist Nicholas Hinchey (II) lived and worked – Shoreditch, Bethnal Green, Hackney, and Tower Heights.

*Map of London showing Shoreditch, Bethnal Green and Tower Hamlets.*

The 1871 Census listed Nicholas Hinchey (I) as head of household and a Professor of Music. This was the same year that smallpox plagued the Shoreditch community. Sometime between 1871 and 1881 the Hinchey family moved from Shoreditch to Bethnal Green. This was not a great distance, only a 38-minute walk.

*The walk from Shoreditch to Bethnal Green.*

In 1881, the Hinchey household was located at 20 St. James Road in Bethnal Green, London. Nicholas Hinchey (I) was listed as a “sole-sewer” in the shoe trade. The Hinchey family was living in a trade neighborhood, home to dozens of shoe and boot manufacturers. Hinchey’s younger brothers, Walter and Charles Henry, also began in the shoe and boot manufacturing trade. However, in 1881, they were simply listed as “scholars,” ages 11 and 8. Interestingly, nothing is listed for Nicholas Hinchey (II) in the 1881 census report.

“N. Hinchey” was already working as a scenic artist in 1881. On Jan. 1, 1882, he was credited with the scenery for a Christmas pantomime, working alongside Richard Douglass and John Neville at the National Standard Theatre, Shoreditch. At the time, he was 18 yrs. old. The fact that Nicholas Hinchey was mentioned by name, alongside two other well-known scenic artists, suggests that he significantly contributed to the scenic portion of the show. If he were merely working as an assistant, the article would have only listed the names of Douglass and Neville, or “Douglass, Neville and assistant.” Based on standard practices of the 19^th century scenic art trade, aspiring artists began training between the ages of 12 and 16. Hinchey was likely training as a scenic artist in 1878, possibly at the Standard Theatre in Shoreditch.

On Jan. 1, 1882, The Sunday People credited scenic artists R. Douglas, J. Neville and N. Hinchey with the scenery for Sinbad the Sailor at the Standard Theatre (p. 7). Richard Douglass was the subject of yesterday’s post, as he also painted scenery for the Normansfield Theatre. Richard’s brother, John Douglass, was the author of the pantomime. Of the production, the article reported, “The scene of the pantomime proper opens with a representation of a seaside village, where Sinbad being refused the hand of Polly, resolves to go to sea. The spectator next sees the cabin of the Lively Polly, where the threads of the story are again taken up. Gun drill is gone through and a grand nautical ballet, in which every nationality is represented, is indulged in, to the delight of the audience. The vessel strikes on the Loadstone Rock, and founders; but the hero and his friends are rescued by a steamer in a scene which alone will render this pantomime popular. The vessel not only glides easily and gracefully on to the stage but turns completely round and goes off again. Some capital business and fooling take place on the Tum Tum Islands, where the East-enders will derive some curious information with reference to marriage laws and customs. To this success an interesting panorama, and scenes representing the Valley of Jewels (in which is termed a ‘prismatic ballet’ takes place, the dresses of the dancers creating a fine. Affect), and Eastern slave mart, &c., leading up to the transformation scene, which is termed a Vision of the Intense and Realms of the Utterly Utter, a really splendid scene deserving a better tile. The scenery throughout is all that could be wished…”

Hinchey continued to work in the area and began to make a name for himself at three music halls by the mid-1880s. He became associated with the Parthenon Theatre of Varieties, (Greenwich), the Canterbury Theatre (Lambeth), the Paragon Theatre (Mile End). Charles Crowder and George Adney Payne were the Proprietors of several music halls that included the Paragon Theatre of Varieties and Canterbury Theatre of Varieties (The Era 25 Dec 1886, p. 13).

With relatively stable employment, Hinchey was able to wed. On Dec. 1, 1884, Nicholas Hinchey married Susannah Skaggs Burns (1863-1918) at Holy Trinity, Dalston, Beechwood Road, in Hackney. Hinchey was listed as a scenic artist, living at 192 Victoria Park Road in South Hackney, whereas Burns was living at 63 Holly Street. The couple celebrated the birth of two sons: Nicholas Charles Hinchey (1886) and Horace Arthur Hinchey (1890).

The Paragon Theatre of Varieties opened in May 1885, coinciding with Hinchey’s listing as a resident artist for the venue. Amazingly I located two Paragon Theatre programs that listed Hinchey as the resident scenic artist. This places Hinchey as the scenic artist there from 1885 to 1887.

*Mr. Nicholas Hinchey listed as scenic artist for the Paragon Theatre, 30 Nov. 1885.*

*Mr. Nicholas Hinchey listed as scenic artist for the Paragon Theatre, 28 Feb. 1887.*

1887 Program for sold by Potter & Potter Auctions.

Here are a few articles that note Hinchey’s association with Crowder and Payne’s two music halls during this time:

Parthenon Theatre of Varieties:

On Sept. 5, 1885, The Era listed N. Hinchey as the scenic artist for The Naughty Dustman at the Parthenon Theatre of Varieties, Stockwell-street, Greenwich. At the time, A. A. Hurley was the sole proprietor and manager, with A. R. Hurley as the acting manager.

Canterbury Theatre of Varieties:

On Nov. 21, 1885, The Era announced that a “new palatial Interior” was painted expressly for the occasion by N. Hinchey” to celebrate the third anniversary of the proprietorship of Messrs. Crowder and Payne at the Canterbury. (p. 10)

In 1886, Hinchey was still painting for The Canterbury. On Jan. 2, 1886, The Era mentioned Hinchey’s scenic art in an entertainment called Twenty Minutes with the Ancients, with twenty classically draped and classically posed ladies “in a beautiful painted scene, ‘Old Roman Ruins,’ which reflects the highest credit on the skill of the artist, Mr. N. Hinchey” (p. 10).

Other Canterbury Theatre of Varieties show with scenery painted by Hinchey in 1886 include The Devil Bird (The Standard, 30 Aug 1886, p. 1) and Across the Pond (The Standard, 20 Oct 1886, p. 1). Across the Pond was advertised as an “Absurdity with Magnificent scenery by Mr. N. Hinchey. The Castle Garden by Moonlight, the Arrival of the Steam Ship Grecian Monarch.”

In 1886, Nicholas and Susannah celebrated the birth of their first son, Nicholas Charles Hinchey (III).

I am going to pause for a moment and look at the 1880s Music Halls where Hinchey was working, especially those managed by Crowder and Payne. They were quite controversial and a target by clergy. A leaflet, entitled This Way to the Pit of Hell, was written by Frederick Nicholas Charrington of the Tower Hamlet and handed out in front of Lusby’s Music Hall in London’s Mile End Road. Charrington’s unwanted activities Payne to throw bucket of red ochre on Charrington. This was likely a pot of distemper paint, mixed by his scenic. The controversy continued over the years, and in 1885, Crowder and Payne brought Charrington to court, alleging that his activities constituted a public nuisance and were slanderous. There is a very interesting article by Bob Davenport, entitled George Adney Payne: Music-hall guv-nor that describes the event.

Despite continued controversary at Hinchey’s various places of employment, he continued to gain popularity for his scenic art. 1887 was an especially busy year as he repeatedly painting of scenes for a series of sketches that featured the Leopolds.

Here are a few articles that mention about Hinchey’s work in 1887 and 1888, before he became associated with the South London Palace Theatre:

On Jan. 15, 1887, The Era reported that the Leopolds’ The Terrible Boys sketch included “new scenery by N. Hinchey, Tennyson and O’Gorman” (p. 12). The sketch was still being performed that fall. On Oct.1, 1887, The Era mentioned Hinchey’s scenery at The Paragon in the Leopold Troupe’s The Terrible Boys (p. 10): “The scene in which the wild revels take place is prettily painted by Mr. Hinchey and serves the purpose admirably.”

On Feb. 26, 1887, The Era reported that the Leopolds’ Claud sketch featured “new scenery by N. Hinchey (p. 12).

On March 5, 1887, The Era reported, “The new scenery, which has been supplied by N. Hinchey, says much for the artistic ability if that gentleman” (p. 9).

On April 9, 1887, The Era reported the eccentric sketch of The Magic Flute supported by the pantomime troupe with “new scenery by N. Hinchey” for the Easter Holidays (p. 12).

On Oct. 29, 1887, The Era published an advertisement for the Paragon Theatre of Varieties for “A Nautical Musical Sketch The Seaside Holiday introducing Harry White, Elsie Phyllis &c. New scenery by N. Hinchey” (p. 12).

On Jan. 14, 1888, The Era described Hinchey’s scenic contributions for the Naughty Jack sketch, reporting, “Special praise is due to Mr. N. Hinchey’s capital scenery, Considering the brevity of the sketch, the elaborate and complete mise-en-scène, the artistic execution, and the tasteful and ingenious lighting of the two stage pictures, notably the street scene which is last exhibited, are surprisingly good; and the mechanical change from the interior of the prison works with delightful smoothness” (p. 15).

One of his last productions at the Paragon was during the summer of 1888. On June 28, 1888, an advertisement in The Era for On Guard featured “New Scenery by N. Hinchey” (p. 1). On July 3, 1888, The Standard listed Hinchey’s scenes – Scene 1. England in Danger; “On Guard” before Sebastool. Scene 2, England’s Reward; The Workhouse of Death; Country Churchyard in Winter” (p. 1).

Hinchey established his own painting rooms at Cannon-place, Mile-end-road. This address appeared in The Era advertisements in the fall of 1888. On Sept 15 and 29, 1888, Hinchey published an advertisement in The Era (p. 3). It stated, “Mr. Nicholas Hinchey, Scenic Artist, late of Canterbury and Paragon Theatres, by permission of Mr. William Lusby, is now prepared to accept Contracts, Large or Small, Theatres, Music Halls, and Amateurs, stocked with Scenery of every description. Small. Stages built and fitted with every appliance. Address, Nicholas Hinchey, Royal Foresters’, Cambridge-road, Mile-end, E., London; or Painting Room, Cannon-place, Mile-end-road.”

Nicholas Hinchey advertisement from The Era, Sept. 15, 1888, p. 3.

On Sept. 22, 1888, The Era listed Nicholas Hinchey as “Resident Scenic Artist” at Royal Foresters’ Palace of Varieties, Cambridge-Road, Mile-End, with William Lusby as the proprietor.

Hinchey was also painting scenery for other venues too. For example, on Nov. 5, 1888, The Era reported “Six splendid scenes from the brush of the young and talented N. Hinchey” for the Belmont’s New Sebright Amusement Temple, Hackney-Road” (p. 12). The article about the inaugural opening listed “Mrs. J. J. Poole, South London Music Hall,” as one of the “distinguished patrons.” Hinchey was later credited with scenery for Danger on the Line at the New Sebright Amusement Temple. On Feb. 2, 1889, The Era noted, “special scenery and limelight effects by N. Hinchey, Esq.” (p. 14).

On April 20, 1889, The Era reported, “Belmont’s New Sebright is the brightest Star Show in the whole universe. Each week beaming a Copious Catalogue of New and Novel Acts, with Scenes of Sumptuous Splendor from the brush of N. Hinchey, and Satisfactorily Set and Struck by a very Smart Small-Soda Swallowing Stage Steersman, one Hickman, whose initials are C. D. (not Seedy)” (p. 12).

Hinchey was also associated with the South London Palace of Varieties in Lambeth that fall. On Sept. 8, 1888, The Era reported, “New scenery by N. Hinchey” for a new sketch Danger’s Call at the South London Palace, d-road, S. E. – Proprietress Mrs. J. J. Poole” (p. 12). Mrs. J. J. Poole assumed management of the theatre after her husband’s passing in 1882. Hinchey also painted scenery for Sloperius that summer. He was credited in an article published in The Sunday People on June 16, 1889 (p. 8).

*N. Hinchey listed as the scenic artist for* Danger’s Call *at the South London Palace,* The Era *8, Sept. 1888.*

In 1888, Hinchey began working with Joseph Soames. The two painted scenery for the Surrey Theatre’s Christmas Pantomime, Dick Whittington and His Cat. On Dec. 28, 1889, The Era reported, “A brief sketch of the spectacular effects of the pantomime must here suffice. The second scene, East Chepe in the Olden Time, is an elaborate and artistic set; and the view from Highgate Hill (scene four) created an undeniable call, which had to be answered by the smiling appearance of Mr. George Conquest. While Dick sleeps, he is supposed to be treated by the fairies to a dream of delight, in which he fancies himself in a pleasurance inhabited by elves representing butterflies and insects and carrying garlands of beautiful flowers. In the London Dock scene, a “practicable” vessel sailed from the quay, the eight scene, representing a tropical forest, reflects as does all the scenery, great credit upon Messrs. J. Soames, N. Hinchey and their assistants” (p. 8). Joseph Soames (1847-1918) was another link between Hinchey and Richard Douglass. In 1886, Soames painted scenery with Douglass, G. Blake and assistants for Jack and the Beanstalk at the Standard Theatre (The Era 21 Dec 1886, p. 4).

Born in Stepney, London, Joseph Soames was already working as a scenic artist in the 1860s. He was listed as such in the 1871 Census report. That year, Soames was credited with the “Magnificent Champion Transformation Scene” for Dick Whittington and His Cat; or, Discord, War, Famine, and Harlequin Peace, Good Humour, and Plenty at the Garrick Theatre, Leman-street, Whitechapel (The Era 1 Jan 1871, p. 12). At the time, his work was featured alongside that of G. A. Baxter, Mr. Burris and W. Campbell (assistant). In 1889, Soames advertised as “the Acme of Scenic Effect” (The Era 28 Sept 1889, p. 12).

*Joseph Soames’ scenic art for the Surrey,* The Era 28 Sept 1889, p. 12

Over the years, he continued his association with the Surrey Theatre, passing along his skills to his youngest son, Alfred James Soames (1884-1920). The 1901 Census listed Alfred as a 16-yrs.-old apprentice to Joseph Soames in Seaford, Sussex.

In 1892, Hinchey was still painting with Soames. On Dec. 31, 1892, The Era credited Hinchey, J. Soames, and C. Williams with scenery for Puss in Boots at the Surrey Theatre, reporting “Messrs. Soames, Hinchey, and Williams have painted some very effective scenes” (p. 8). On Jan 1, 1893, The Era heralded their scenic contributions, especially the transformation scene, entitled The Home of Coralina. The Era article reported, “The scenes representing a mill and village inn, a weird glen, a wood and lake, a prison, the wonderful house built by the Jack introduced into the story, a golden palace, and ogre’s stronghold, and the transformation scene called “The Home of Coralina,” are highly credible to the artists, Messrs. J. Soames, N. Hinchey, and C. Williams, while their attractions are enhanced by the clever property, mechanical, and illuminating effects introduced into them by Messrs. T. and H. Major, F. Gaydon, and W. Dines.” I have yet to track down the scenic art career or C. Williams; more later is I uncover something.

Despite accepting a variety of other projects throughout the region, Hinchey maintained a close association with the South London Palace. Here are a few productions mentioned in newspapers between 1890 and 1895:

Conn, an Irish sketch in four scenes for the Easter Holidays, with “scenery and new effects by N. Hinchey” (Lloyd’s Weekly Newspaper April 6, 1890, p. 6)

Balaclava, a “sensational military monologue” with “splendid scenery by N. Hinchey (The Era Aug. 8, 1891, p. 12).

Night Alarm featuring “new scenery by N. Hinchey,” (The Era 5 Sept. 1891 p 12.)

Mepho; or, Faust After Date with “new scenery by N. Hinchey, Lime effects by J. Jarrat; Machinist, A. Kennard” (The Era Oct. 24, 1891, p. 14).

A Terrible Night, Paul Martinetti’s pantomime“with special new scenery and effects by N. Hinchey” (Lloyd’s Weekly Newspaper, p. 8).

The Sights of London (Mr. Charles Godfrey in a series of new songs) with special new scenery and special effects by N. Hinchey (The Sunday People 7 Feb 1891 p. 8)

Robert Macaire “with new and beautiful scenery by N. Hinchey” (The Era 20 Feb 1892, p. 14)

The Squire of Haslemere (by Vento, the modern ventriloquist)“with Scenery by N. Hinchey, Esq. (The Era 2 Apr 1892 p 26)

The Harvest of Sin, in five tableaux, with “scenery and special effects by N Hinchey” (The Sunday People 10 Jul 1892 p. 8)

Inkerman (starring Charles Godfrey) with scenery “specially sketched and painted by N. Hinchey for the South London Palace,” representing No. 11 Ward in Chelsea Hospital (The Era 30 Jul 1892 p. 12)

Adventures on a Houseboat with “scenery by N. Hinchey” (Sunday Dispatch 25 Sept 1892 p. 8)

The Tower Bridge (R. Gurney Sketch Company) with “Scenery by N. Hinchey” (The Era 2 March 1895, p. 26)

In 1890, the Hincheys celebrated the birth of another child, Horace Arthur Hinchey. Horace was born in Whitechapel, Tower Hamlets, on April 18, 1890. His birth was listed in the Civil Registration Index for the second quarter of that year.

That year, the Hinchey also painted scenery for the Hull Christmas Pantomime. On Dec. 24, 1890, the Hull Daily Mail included an article about Little Red Riding Hood at the Theatre Royal on Boxing Night: “We have reason for stating that the scenery, which has been painted by Messrs. Jules Camus and N. Hinchey, is most elaborate in character” (p. 3); On Jan. 3, 1891, The Era reported, “The tale, which is on the old familiar lines, is depicted in eleven scenes, designed and painted by Jule Camus and N. Hinchey” (p. 18). Hinchey returned to the next year. On Jan 2, 1892, The Era listed Jules Camus and N. Hinchey as the scenic artists for the Christmas pantomime Robinson Crusoe (p. 19).

In 1891, the Census listed Nicholas Hinchey as a scenic artist and sculptor, living with his family at 5 Cannon Place in Whitechapel, London. Members of his household included 28-yrs.-old wife Susannah and two sons, Nicholas C. (5 yrs.) and Horace A. (1 yrs.).

On Oct. 3, 1891, The Era described a new entertainment at The Foresters’, reporting, “Mr. William Lusby’s old-established and well-patronized theatre of varieties in the Cambridge-road, Mile-end… The Yard Arm…“The scenery, for which N. Hinchey is responsible, gave every satisfaction” (p. 16).

A week later, Hinchey’s scenic art was mentioned in a newspaper advertisement that described a new stage effect. On Oct. 8, 1892, The Era published an advertisement for the “Ubiquitous M. George Lupino.” It reported, “Nineteenth week as Leporella, Don Juan’s Servant, Alhambra Theatre. South London Palace as the SEA MONSTER. Come, see, mark, learn, copy. The most Realistic Ship ever produced on any stage in Europe. See how a Practical Picturesque Mechanical Trap scene should be made and used. Modeled and designed by a Pantomimist who understands Geometry, Scale, and Perspective. A Hint to those Great Little People who Talk about Inventing and Designing, and yet cannot sketch at all. Painted by N. Hinchey, Built by R. Wilkinson. I George Lupino, claim the above as original in construction from end to end, and challenge inspection and contradiction. Agent, Warner” (p. 26).

*N. Hinchey credited as scenic artist, 1892.*

Hinchey’s reputation was continuing to spread throughout the region.

In 1892, Hinchey delivered scenery to the Normansfield Amusement Hall. On Jan. 7, 1893, The Era announced “The Genesta A. D. C. On Thursday evening at Normansfield, Hampton Wick, the members of this amateur dramatic club performed for the first time, an original ‘nautical pantomime,’ entitled Y’lang Y’lang, the Fair Maid of Too-Bloo…The libretto and lyrics were written by Mr. G. Manchester Cohen, the music composed by Mr. John W. Ivimey, and the pantomime arranged and produced by Mr. Peter Davay…This production of a Christmas piece. With its elaborate scenery and costly dresses. Was a bold undertaking for amateurs, and they are to be congratulated upon the undoubted success which attended the performance…The scenery painted by Mr. N. Hinchey, was admirable, and the dresses and properties all that could be wished for” (p. 9). It is possible that this was the same year that Hinchey painted and signed the street scene for the Normansfield Theatre.

*Street scene roll drop at the Normansfield Theatre, credited to N. Hinchey.*

*Maker’s mark on the backside of the street scene roll drop, the Normansfield Theatre.*

It was about this same time that newspapers start mention the scenic art firm of “N. Hinchey & Co.” A name that appeared for only a year. On Jan. 14, 1893, The Ear published an advertisement for the touring production of The Indian Mutiny, noting “Magnificent scenery for every Act by N. Hinchey and Co.” (p. 4). On Feb 17, 1894, The Era published an advertisement for A Military Blunder with “special scenery and effects by N. Hinchey & Co. (p. 27).

On May 19, 1894, The Era published an advertisement for The Two Hussars featuring Mr. Harry Bruce’s Company, with “Four sets of Magnificent Scenery (by N. Hinchey) carried, portraying Balaclava, Sebastopol, and Environs” (p. 4). On March 26, 1898, The Era reported, “The success of the visit has been through and complete; and the attraction of The Two Hussars seems as strong and steady as ever. Especially stimulating have proved to be the scenes in the second act, including views of the battle plains and the French and Russian camps, the blowing up of the bridge, military quarters in the Crimea, the Valley of Death, and the Charge of the Light Brigade, in which Trooper Holland, No. 1,543, D. Troop, 11^th Hussars, one of the actual survivors of the “six hundred” in the celebrated exploit, appears each evening. For these, for the correct view of the town and harbour of Balaclava, and for the whole effects, Mr. N. Hinchey, the scenic artist, deserves warm praise, while the superintendence of Mr. Harry Bruce has given smoothness and completeness to the production” (p. 10).

*Nicholas Hinchey credited with scenery for the touring produciton of* The Two Hussars. *From the* Isle of Wight Observer, *3 Feb. 1900, p. 8.*

On August 22, 1896, The Era listed that new scenery for The Indian Mutiny was traveling with new scenery “painted from photographs by Nicholas Hinchey, Lionel Hart, and Richard Douglass, and the picture of the Ruined Mosque on the Mountain Pass, with its warm glow and cleverly suggested architectural detail, may be picked out as one of the remarkable examples of stage brush work” (p. 9).

By 1897, public mention of Hinchey as a scenic artist became less frequent.

On Aug 4, 1900, The Era published an advertisement for The Mariners of England; or, the Days of Nelson, reporting, “The Stirring Patriotic Olympic Success, now in the Third Year of Tour. Emphatic Success this week at Southend, New Plant of Scenery being prepared by Mr. Nicholas Hinchey” (p. 20).

I was able to locate only a handful of articles about painting projects for N. Hinchey from this point forward.

On Jan. 22, 1901, Coventry Evening Telegraph published an article about the Pantomime at the Opera House describing Wilfred Cotton and Le Butt’s version of Babes in the Wood, incorporated with incidents from Who Killed Cock Robin? (p. 2), with scenery by Messrs. G. Miller and N. Hinchey. In 1901, Hinchey was visiting at 42 Drewton St, Bradford West, Yorkshire. He was listed as a visitor and theatrical scenic artist. Other “visitors” included actor George Croft, Theatrical Property Manager Ralph Rawle, Theatrical carpenter Frank Smith, and many others. It appears that he was traveling with a company at the time.

On Jan. 11, 1902, the Folkstone Herald mentioned Hinchey’s scenic contributions to the touring production of Beauty and the Beast from the Royal County Theatre, Kingston-on-Thames. The article reported, “The graceful old fairytale is set out with commendable skill and clarity and presented in tableaux of singular charm and beauty by a company remarkable for genuine dramatic ability. The scenery is by such well-known artists as T. Miller, Walter Hann, Nicholas Hinchey, George Miller, etc.” (p. 12).

The first few years of the twentieth century prompted change in the Hinchey home, possibly caused by Susannah Hinchey’s poor health. Something happened, and I have yet to figure out the specifics. However, in 1906, Hinchey’s wife became destitute and was transferred from one poorhouse to another. On a few years earlier, their youngest son, was enrolled in boarding school.

Horace A. Hinchey was admitted into the Olga Street School in Tower Hamlets, Bethnal Green, dated February 24, 1902. Records list that H. A. Hinchey was born on April 18, 1890, and that his father was Nicholas Hinchey (Scenic Artist). Hinchey’s previous school was located on Chrisenhale Rd. Furthermore, Hinchey’s residence was listed as 16 McThurst Rd. Olga Street Board School was established in 1874, with a student body of 649 children (324 boys, 325 girls) and 418 infants. The school was enlarged in 1881 to accommodate approximately 1,500 children, with further improvements made in 1898.

By the summer of 1906, Susannah Hinchey was placed at the poorhouse in Polar. She is listed in London’s Selected Poor Law Removal and Settlement records, dated June 2, 1906. Now, I was unfamiliar with this type of law and settlement. The Poor Law was a system that grouped parishes into unions, each with its own workhouse, to reduce the cost of caring for the poor.

*The orders of removal to the Guardians of the Poor of Polar, Poor Law Union, 1906.*

Susannah Hinchey’s orders of removal to the Guardians of the Poor of Poplar, Poor Law Union, in the County of London, reported, “That Susannah Hinchey is the wife of Nicholas Hinchey. That prior to August 1900 the said Nicholas Hinchey resided for a term of three years at 59 Venue Street, 29 Nairn Street and Elsewhere in the Parish of Bromely St. Leonard and in the Popular Union, in such a manner, and under such circumstances, in each of such years, as would in accordance with the several statutes in that behalf, render him irremovable therefrom and settled therein.” Her record stated, “Susannah Hinchey, aged 43 years has come to inhabit and is now inhabiting in the said Parish of St, Matthew, Bethnal Green, not having gained a legal Settlement therein, nor produced a Certificate acknowledging a Settlement elsewhere, nor being exempt from removal by any provision of the Law, and that she is now actually chargeable to the said Parish, and is now receiving relief therefrom, and that Parish of Bromeley St. Leonard in the Poplar Poor Law Union in the County of London is the place of her last legal Settlement. I, the said the Magistrate, upon the due proof thereof, as well as by examination of a Witness upon oath and upon due consideration of the premises, do adjudge the complaint to be true, and that such relief is made necessary by the sickness of the said Susannah Hinchey which sickness I am satisfied will produce in her permanent disability; and that the place of last legal Settlement of the said Susannah Hinchey is in the Parish of Bromley St. Leonard which is comprised in your said Union. These are therefore in His Majesty’s name to require and order you, said Guardians of the Poor of the said Parish of St. Matthew, Bethnal Green, or some or one of you, or some proper person of persona to be employed by you, at such time, and in such manner as by law is provided and directed in that behalf, to remove and convey the said Susannah Hinchey from and out of your said Parish to the said Poplar Poor Law Union, and her to deliver, together with this Order, or a duplicate, or a true copy hereof at the Workhouse, or unto the Guardians of the Poor there, or one of them, who are or is hereby required to receive and provide for her according to Law.”

I have yet to locate Susannah’s departure from Poplar, yet the 1911 census listed her residence in Hackney. This was only one year after her father-in-law’s passing.

On Dec. 22, 1910, Nicholas Hinchey (I) passed away and was buried at Chingford Mount Cemetery. Chingford is in the London Borough of Waltham Forest. The gravestone states, “Loving Memory of Nicholas Hinchey who passed away December 22^nd, 1910, Aged 79 Years. Lord All Pitying, Jesu Blest: Grant Him Thine Eternal Rest.” The grave also contains the remains of his son, Nicholas Hinchey (II), and Daughter Margaret Le Croissette.

The 1911 Census listed Susanna living at 2 Frampton Park Road in Southeast Hackney. Her son, scenic artist Nicholas Charles Hinchey (III), lived with her. This means that by 1911, scenic art projects credited to N. Hinchey may be the work of Nicholas Hinchey (II) and Nicholas Hinchey (III).

In 1914, 28-yrs.-old “scene-painter,” Nicholas Charles Hinchey (III) married 21-yrs.old Annie “Elizabeth” Elizabeth was the daughter of John Charles Willis, who worked as a groom. The couple was married at the Parish Church of at Saint Alban in Streatham Park (Lambeth) in the county of Surrey.

Willis was the daughter of John C. and Mary E. Willis, of Wandsworth. At the time, both listed their residence as 105 Eardley Road (this was very unusual). Their marriage was witnessed by Susannah Hinchey and Charles Phillip Chamberlaine, and registered in Wandsworth, London. Because this event occurred between census reports, I have yet to locate Susannah’s address at this time, or any mention of Nicholas Hinchey (II).

The same year that his son was married, “N. Hinchey” was credited with scenic work at the Palace Theatre in Glasgow. On August 4, 1914, Glasgow’s Daily Record reported that the Palace Theatre was “Redecorated with Entirely New Scenery and Lighting Effects Designed and Painted by Mr. N. Hinchey” (p. 4). I am unsure whether this was the work of father or son.

There were only a few more mentions of scenic art by N. Hinchey during the war years. On May 12, 1918. The Stirling Observer (Stirling, Scotland) reported that N. Hinchey painted scenery for Cheer-O! at the Olympia. On August 28, 1918, The Perthshire Advertiser published an article about the new spectacular spy play, Carry on at Perth Theatre (p. 3). Special scenery was by N. Hinchey.

Nicholas Hinchey (II) passed away on Dec. 18, 1919, at the age of 55 years. He was buried at Chingford Mount Cemetery with his father, Nicholas Hinchey (I) in 1919. He passed away at St. Marks Hospital City Road.

*Gravestone for Nicholas Hinchey (I), Nicholas Hinchey (II) and Margaret Le Croissette (daughter and sister to the two above).*

To be continued…

Travels of a Scenic Artist and Scholar: From Buxton to Brecon, August 5-6, 2024

I am going to cover a lot of ground in this post. From the morning of August 5 to the evening of 6, 2024, we ran on a tight schedule as we traveled from Buxton, England, to Brecon, Wales. In the end we visited seven theaters in two days: Buxton Opera House, Chatsworth House Theatre, Sheffield’s Lyceum Theatre, Nottingham’s Theatre Royal & Royal Concert Hall, Nottingham Playhouse, and Cheltenham’s Everyman Theatre.

On our way from Skipton to Nottingham, we opted to take a chance at the Lyceum Theatre in Sheffield, without an invitation. There are no other words for our impromptu visit to the Lyceum other than “lucky.”

Fortunately, Mike had already photographed the Lyceum, so this was our foot in the door. With the promise of “no photography” (due to a major touring production) we were soon ushered into the space for an amazing tour. Here are Mike Hume’s page on Sheffield’s Lyceum Theatre: https://www.historictheatrephotos.com/Theatre/Lyceum-Sheffield.aspx

On the morning of August 6, we headed into Nottingham for our first stop at the Theatre Royal. Our appointment was scheduled an hour before the crew was called, so we could see the safety curtain. Here are a few pictures of the space:

An unexpected bonus was heading next door to see the Royal Concert Hall. Amazingly, this was the one time of the year that they perform maintenance on the orchestra shell – phenomenal site!

*Royal Concert Hall, Nottingham, England.*

Our next visit was to the paint shop at the Nottingham playhouse.

Clair Thompson, Emily Hackett, and Erin Heming had all attended my Distemper Painting Workshop at the Tyne Theatre & Opera House from July 30-August 1, 2024. I also want to make it clear that we had more than one invitation from both workshop participants and conference attendees; we just couldn’t fit everything into our schedule. This visit was only possible because it was only a short walk from the Theatre Royal & Royal Concert Hall.

*Left to right: Erin Fleming, Bronwen Herdman, Jodie Whitchurch, Anna Roberts, Emily Hackett, Claire Thompson and Wendy Waszut-Barrett.*

Claire Thompson’s shop may be one of the friendliest spaces that I have entered in quite sometime. Although, bustling with activity, there was a concerted effort to stop and welcome us with coffee/tea and biscuits (cookies). Those is charge frequently set the tone; Claire’s kindness radiates and is reflected by those around her. I will tell you one thing, if I ever move to Nottingham, I want to work with the women from this shop.

*Anna Roberts, Jodie Whitchurch, and Claire Thompson*.

Despite our busy schedule, Mike and I made time to visit two tourist attractions (my request). The first was Robin Hood’s statue at Nottingham Castle; it was the tale of Robin Hood that peaked my mom’s interest in history, a passion that she passed down to me.

*Robin Hood Statue at the base of Nottingham Castle.*

Our second quick visit was to Old Ye Olde Trip to Jerusalem 1189 AD, purportedly the oldest inn in England.

*Ye Olde Trip to Jerusalem at the base of Nottingham Castle.*

After Nottingham, Mike and I drove to Cheltenham where we had an afternoon appointment at the Everyman Theatre. This tour truly exceeded all our expectations. We were all over the building! Here are a few photos from our visit.

*Everyman Theatre, Cheltenham, England.*

When Mike Hume creates pages for the abovementioned at Historic Theatre Photography, I will share the links HERE.

After Cheltenham, we we were on our way to Wales.

*Crossing the River Usk at Crickhowell, Wales.*

*Arriving in Becon, Wales, on the evening of August 6, 2024.*

By early evening we were enjoying dinner at the Hotel Wellington. My next few posts will be about the Adelina Patti Theatre in Craig Y Nos, Wales.

*Duke of Wellington Statue in front of St. Mary’s Church, Brecon, Wales.* 6 August 2024.

To be continued…

Travels of a Scenic Artist and Scholar: Chatsworth House Theatre, August 5, 2024

Mike Hume and I drove to Chatsworth House on the afternoon of August 5, 2024. This was after visiting the Buxton Opera House with Diana Walkden that morning.

*Our drive from the Buxton Opera House to Chatsworth House.*

The drive was wonderful, and we had just enough time to make a few brief stops. One quick stop was at the Bakewell Tart Shop. Nothing like eating your way through the UK, or the Hobbit Diet as I now call it!

*Bakewell Tart Shop – one of the many recommendations we received from friends.*

Although the morning was somewhat overcast, blue skies began to appear as we neared Chatsworth House.

*The rolling hills near Chatsworth House.*

*The estate surrounding Chatsworth House.*

*A view of Chatsworth House from the stables.* *We would go up to the roof of that building!*

It was Louise Calf who assisted with the necessary introductions for our visit. We had met at the Tyne Theatre & Opera House conference last year. Calf is the theatre expert for Chatsworth House, a University of York doctoral candidate who is researching the history of the space and its scenery collection.

Calf introduced us to Fran Baker (Head of Archive and Library), who organized access for our visit on August 5. Baker and Elania Pieragostini (Senior Curator, Devonshire Collections) graciously took a substantial amount of time to show us to the theatre. They even took us up to the roof for a stunning view of the Chatsworth Estate and countryside!

*Elania Pieragostini*, *Wendy Waszut-Barrett and Fran Baker.*

*The roof – with stables in the distance (left).*

Since our visit, Calf has shared an abundance of information, including William T. Hemsley invoices.

*Chatsworth House Theatre was once a ballroom.*

I am going to start with alterations to the hall, as it was not initially constructed as a theater. The following information is from a text panels at the entrance of the theatre:

The Theatre – Formerly Ballroom or Banqueting Room

This room was designed by Sir Jeffry Wyatville as a ballroom for the 6^th Duk of Devonshire, and completed in 1832. The ceiling is decorated with the late 17^th century painted panels by Sir James Thornhill and Louis Cheron. These were removed from the walls of the 1^st Duke’s Long Gallery and adjacent Little Dining Room when they were converted into the Library and Ante Library of the 6^th Duke. The two boxes and the gallery above, are part of the original furnishing of the room. One was used by Queen Victoria when she attended a ball here in 1843. The room was subsequently used for entertainment of various kinds. In 1896, the 8^th Duke commissioned William Hemsley, a leading London Designer and supplier of ‘theatrical scenery and appliances’, to fit the room out as a theatre. He provided a permanent stage, stage equipment, a painted proscenium and front drop curtain, and a number of sets. Most of these remain, and are extremely rare survivors of late-19^th century scenery. Between 1898 and 1907, the theatre was used so regularly during the winter visits of the Prince and Princesses of Wales (later King Edward VII and Queen Alexandra), with performance plays, dance and music to entertain the royal house party, that the press of that time dubbed it the ‘Theatre Royal’. From 1989 to 2005, the room was used for textile conservation, now moved elsewhere.

*Chatsworth House Theatre – Painted proscenium credited to William Hemsley. Chatsworth House, 5 August 2024.*

Chatsworth House records detail the fitting up of the ballroom for a theatre in 1896. Itemized invoices from the Midway Rail Company (for the carriage of goods) include lists of supplies, such as canvas frames, coil ropes, drum cable, canvas bundle, 5 packages of scenery, 200 chairs, and much more.

*Standing behind the proscenium arch at the Chatsworth House Theatre.*

Behind the painted proscenium, stage left, at the Chatsworth House Theatre.

*Cleat attached to the backside of the proscenium, Chatsworth House Theatre.*

There is nothing quite like examining a scenic artist’s bill of sale for theatrical goods. Over the years, I have studied quite a few. It provides an amazing glimpse into material expenses, wages, and shipping logistics; a wonderful snapshot for any trade.

In Feb. 1896, a bill of sale was created at William T. Hemsley’s scenic studio for the Duke of Devonshire; itemizing the “making and painting” of both act drop and scenery collection. Stock scenery included Proscenium Drapery Wings, Profile Tormentors, Double Wings, Fireplace, Borders, Small Cloths, Mantle Piece, and Interiors (dark and light chambers).

I want to place these records within a much larger context. The contents of the Devonshire Collection Archives, held at Chatsworth, spans over 450 years. It details the lives, careers, and estate management of the Cavendish family, filling over 6,000 boxes! This, combined with the ongoing management of other estate artifacts, such as paintings, sculptures, etc., is overwhelming. In the big picture, a painted proscenium and stock scenery collection is overshadowed by the management of everything else. It’s a really good thing that Louise Calf is their theatre specialist!

Understandably, I was unable to see the entire scenery collection and act drop; the latter being encapsulated in plastic and suspended behind the proscenium opening.

*Act-drop encapsulated in plastic, immediately upstage of the proscenium.*

What I did focus on during our visit was the painted proscenium – the second project that Hemsley was hired to paint for Chatsworth House Theatre in 1897.

*Painted Proscenium by William Hemsley, 1897.*

In the spring of 1897, Hemsley submitted an invoice for the painting of the proscenium and supply of canvas. The painted proscenium is absolutely stunning.

*Detail of painted proscenium by William Hemsley for the Chatsworth House Theatre, 1896.*

*Painted detail of William Hemsley’s Proscenium for Chatsworth House, 1897.*

Although, it has greatly deteriorated over time (paint is dusting, fabric is torn, and cords run through holes in the fabric), it is a remarkable work of Trompe l’œil for the stage. From a distance it still creates an illusion of dimensionality that is very believable. Upon first glance, you have no idea that the ornamental frame is two-dimensional.

*Bottom of the painted proscenium at Chatsworth House Theatre.*

The painted proscenium is quite significant, and in some ways unparalleled. Last year when we visited the Gaiety Theatre on the Isle of Man, I was captivated by Hemsley’s scenic art and economy of brush stroke. The proscenium surround at Chatsworth House reminds me of his Act Drop for the Gaiety Theatre.

*Act drop by William Hemsley for the Gaiety Theatre, Isle of Man.*

*Painted detail on act drop by William Hemsley at the Gaiety Theatre, Isle of Man.*

In the end, I wrote two posts about Hemsley: The Gaiety Act Drop by William T. Hemsley and W. T. Hemsley (1850-1918), Scenic Artist.

Hemsley and his studio were featured in an article for the 1899 issue of Cassell’s Magazine. Here are a few illustrations from “Scene-Painters and Their Art.”

*Portrait of William Hemsley in* Cassell’s Magazine, *1899.*

*William Hemsley at his palette in Cassell’s Magazine, 1899.*

*William Hemsley’s Studio, pictured in Cassell’s Magazine, 1899.*

As pictured above, scenic studios employed a variety of artisans beyond the scenic artist who founded the business. When scenery was manufactured at a large studio, it could have been the product of numerous hands. For example, George Hemsley worked for his father in the mid-1890s. Both William and George Hemsley were mentioned in the renovation of Whitable’s Assembly Rooms.

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.”

I want to repeat one particular line from the article – “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.” This sounds exactly like the work Hemsley delivered to Chatsworth House in 1896 – less than six months later.

It is possible that George Hemsley, under the direction of his father, was also responsible for some of the scenery delivered to Chatsworth House Theatre.

I am really looking forward to learning more about Louise Calf’s discoveries and thoughts concerning this wonderful theatre and scenery collection.

To be continued…

Travels of a Scenic Artist and Scholar: The Buxton Opera House on August 5, 2024

Mike Hume and I arrived in Buxton on the evening of August 4, 2024.

*The fence surrounding Buxton’s Pavillion gardens with the Opera House, pictured far right*.

*A map showing the location of the Buxton Opera House in England.*

On the morning of August 5, we had a little time to wander about town, taking in a few sights.

Buxton is a spa town in the east Midlands region of England, built on the River Wye. With ancient origins, Buxton became known for the healing properties of its waters. In fact, the one of the first things we did upon our arrival was to fill our water bottles at St. Ann’s Well, a shrine since medieval times.

Buxton’s website explains that St. Ann’s Well was denoted one of seven ‘Wonders of the Peak’ by Thomas Hobbes in 1678: “this cures the palsied members of the old, and cherishes the nerves grown stiff and cold”. Warm water, from a geothermal spring, flows at a constant 28 degrees Celsius (82.4F). High in magnesium, the same spring water is bottled and sold as Buxton Water.

*Victorian spa in Buxton, now part of the Buxton Tourism building. Note the flowerpot sculpture – like in Settle!*

Mike had scheduled an appointment with Willow Hick, production coordinator at the Buxton Opera House. I am still a little amazed that anyone allowed us to visit during the International Gilbert & Sullivan Festival.

It was also a perfect opportunity to visit old friends. As Diana Walkden lived nearby, we invited her to join us on our excursion. It was a really good thing too, as her involvement with the current Matcham exhibit on display in the building likely expanded or tour options that day!

*Wendy Waszut-Barrett and Diana Walkden at the Buxton Opera House, August 5, 2024.*

*One of the framed panels for the exhibit at the Buxton Opera House.*

*Detail showing the layout at the Buxton Opera House.*

Buxton’s Opera House was designed by Frank Matcham (1854-1920). This architect has quite a following, although that wasn’t always the case. He has a really interesting past and his theatres are absolutely gorgeous. For more information about Matcham, visit the Frank Matcham Society.

Opening on June 1, 1903, the Buxton Opera House featured live performances until 1927. As was the case with many theatre at this time, silent films were introduced, thus shifting the direction of scheduled entertainments. Although live performances persisted over the years, the Buxton Opera House primarily served as a cinema, then gradually fell into a state of disrepair. Fortunately, it has returned to its former glory, reopening on July 30,1979, with a performance of Lucia di Lammermoor.

Here are some of my favorite photos from our visit:

*Ceiling mural detail in the lobby of the Buxton Opera House.*

*Floor detail in the lobby at the Buxton Opera House.*

*The safety curtain in at the Buxton Opera House on August 5, 2024.*

*Sunburner and ceiling murals at the Buxton Opera House.*

*Ceiling mural detail at the Buxton Opera House.*

*Mural detail of comedy and tragedy masks at the Buxton Opera House.*

*Proscenium detail at the Buxton Opera House.*

*Theatre Manager’s box at the Buxton Opera House.*

*View of the orchestra pit from the boxes at the Buxton Opera House.*

*Another view of the Buxton Opera House.*

*Mike Hume in action at the Buxton Opera House during our visit on August 5, 2024.*

As with all of our theatre visits this trip, Mike Hume’s Historic Theatre Photography will share more detailed information and photos for this and other venues.

*Leaving the Buxton Opera House on August 5, 2024.*

*Wendy Waszut-Barrett, Diana Walkden, and Mike Hume in front of the Buxton Opera House, England.*

To be continued…

Travels of a Scenic Artist and Scholar: From Settle to Buxton, England. August 4, 2024

This particular post is about our journey from Settle to Buxton in England. What could have been less than a 3-hrs.-drive, took us all day long. Overall, it was quite an exciting day.

Starting with our morning visit to Victoria Hall (see yesterday’s post), we hiked to Scaleber Foss (waterfalls), explored Skipton’s Castle, enjoyed a Sunday Roast in Kelbrook (village in Lancashire), dropped Grit Eckert off at the train station in Manchester, visited The Plaza in Stockport, and snuck into Buxton’s Opera House (during intermission of HMS Pinafore). It was an absolutely amazing day and I will share some photos from each leg of our journey.

For geographical context, here is a map of our travels on August 4, 2024.

After visiting Victoria Hall that morning, we enjoyed coffee and some Victoria cake before visiting the local scenic attraction known as Scaleber Foss. We travel a bit like Hobbits; first breakfast, second breakfast, elevenses, and so forth. It makes up for the energy spent tromping across towns and in theaters.

*The one-lane road from Scaleber Foss to Settle.*

Also known as Scaleber Force, it is a 40-ft. high waterfall on Stockdale Beck, flowing into the River Ribble between Settle and Long Preston in the North Yorkshires. Sounds a bit like fairytale locations, right? The landscape is enchanting even on a cloudy day.

Although the water is much more forceful in spring, late summer slows the stream down to a trickle, a series of gentle cascades. Over time, water has eroded the limestone, carving out giant steps that lead to the base of the ravine.

I was surprised to discover that some believe Scaleber Foss was inspirational to Edward Elgar; he walked the countryside with his friend Dr. Buck, of Settle.

Despite overcast skies, the serene landscape, tumbling waterfall, steep footpath, and dense foliage were magical. The water was so pleasantly cool that I couldn’t resist going barefoot in the stream.

*View from the footpath to Scaleber* *Foss.*

*The surrounding landscape near Scaleber Foss.*

Our next stop was Skipton Castle, known as one of the best-preserved medieval castles in England. Atop a rocky bluff, high stone walls are quite formidable to those below.

*Visiting Skipton Castle with Grit Eckert and Mike Hume on August 4, 2024.*

At over 900 years old the Skipton Castle is still fully roofed and contains Lady Ann Clifford’s ancient yew tree in the Early Tudor Courtyard.

I was especially taken with the castle’s Conduit Courtyard. According to guidebooks, “It is formed by a range of domestic buildings which survive unaltered and intact from early Tudor times.” In the center, a stone bench surrounds an ancient yew tree, planted by Lady Anne Clifford in 1659.

*The Conduit Courtyard with yew tree planted by Lady Anne Clifford in 1659.*

*Another view of the Conduit Courtyard near the yew tree.*

Here are a few more photographs from our visit to Skipton Castle.

*The grounds surrounding Skipton Castle.*

*View from the Watch Tower at Skipton Castle.*

*The Banqueting Hall at Skipton Castle.*

*Mike Hume (for scale) in the fireplace.*

*One of three ovens (this one used with coals) in the kitchen at Skipton Castle.*

We were all able to enjoy an early dinner – Sunday roast – before heading on to Manchester where Grit grabbed a train back to London. Mike and I were now headed to out next destination – Buxton, as the next morning we were touring another Opera House.

On a whim, Mike suggested that we stop at Stockport and visit The Plaza Amazingly, he was able to get us in for a quick tour from a head usher after the show let out.

What a treat!

*View of the flytower at the Plaza, Stockport.*

*The Compton organ at the Plaza, Stockport.*

Our visit took place just before the new House Tabs were installed.

*Old House Tabs at the Plaza, Stockport.*

Then we were off to Buxton. Little did we know, but the town was bursting with visitors, many attending the 30^th International Gilbert & Sullivan Festival. Had we only known, tickets would have been purchased in advance! This festival is now officially on my bucket list with Andrew and Aaron.

*The Gilbert & Sullivan line-up for August 4, 2024. The festival ran from July 27-August 10, 2024.*

*Schedule for the 30th International Gilbert & Sullivan International Festival, 2024.*

*The Buxton Opera House during the International Gilbert & Sullivan Festival.*

*Storage containers for various productions at the Buxton Opera House for the 30th International Gilbert & Sullivan Festival.*

It was an absolutely lovely evening as we wandered around the opera house. Occasionally a few lyrics from H. M. S. Pinafore interrupted the quiet night.

After lurking about until intermission, we were able to sneak in through a side door to see what the house looked like full of people. No, we didn’t stay for the second act. It was a sold-out show.

*A full house for* H. M. S. Pinafore *at the Buxton Opera House.*

*The Buxton Opera House on the evening of August 4, 2024.*

*The park near adjacent to the Buxton Opera House.*

*The Garden Pavillion, attached to the Buxton Opera House.*

My next post will be about the Buxton the Opera House.

To be continued…

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: Settle, England. 3-4 August, 2024.

*Sign at the Railway Depot in Settle on 4 August 2024..*

Mike Hume, Grit Eckert and I arrived in Settle on the evening of August 3, 2024. We had driven down from Newcastle-Upon-Tyne that day, stopping in Richmond to visit the Georgian Theatre Royal.

*The town of Settle on a map of England.*

Our visit to Victoria Hall was scheduled for late morning on Sunday, August 4. This meant that we had ample time to explore the area. We took very little time settling into our hotel before heading out to dinner.

Settle is a market town and civil parish in North Yorkshire, England; historically in the West Riding of Yorkshire. As Settle is a very small town, we were able to cover ample ground that evening and the next morning before heading south to Buxton.

There are just a few photos that I want to share before jumping into Victoria Hall and the Act-Drop painted by Edmund Handby. By the way, the music hall very close is to the Railway Station. The line now offers scenic rides between Settle and Carlisle.

*The Railway Station at Settle on 4 August 2024.*

*Victorian footbridge at the Settle depot.*

*Victoria Hall in Settle onn 3 August 2024..*

The first thing that struck me about Settle was the feeling of community. It may have been the knitted tops that decorated mailboxes or dozens of flowerpot sculptures, but there was an immediate sense of belonging.

We scoped out the location of the music hall. It was the woman who ran the cafe next to the building who would let us in the next morning. The entrance to Miss Victoria’s Refreshment Gardens is a white tent, pitched on the side of the music hall, set back from the road about thirty-five. A sandwich board on the street advertises “Amazing Community Space and Café”.

*Entrance to Miss Victoria’s Refreshment Gardens on 4 August 2024.*

All the proceeds from Miss Victoria’s fund the theatre. After purchasing food and drink in the tent, one has the option of entering the “Refreshment Garden.” This is a variety of seating areas in playfully decorated tents with children’s toys strewn about. What a GREAT place to visit, especially with small children. It offers an immediate sense of belonging.

*Miss Victoria’s Refreshment Gardens in Settle* *on August 4 2024.*

Here are a few more photographs of Settle during our stay.

*Flowers at the railway station in Settle.*

*Buildings surrounding the town square in Settle.*

*The River Ribble running through Settle.*

*A knitted version of Victoria Hall. There is quite an active knitting group in Settle.*

Here are my favorites flowerpot sculptures.

*The sign next to a bin where you could pick up free flower pots.*

*The Quaker’s Garden across the street from Victoria Hall in Settle.*

*Just outside the birthplace of Rev. Benjamin Waugh (1839-1908), founder of the Society for the Prevention of Cruelty to Children in Settle.*

*Under a tree in the graveyard of Holy Ascension Church in Settle.*

*This just made me laugh! It was on the Railway grounds, near the water tank for steam engines.*

*For parents who spent endless hours watching Thomas the Tank Engine.*

*Here is the bridge with the flower pot sculpture in Settle.*

*One of the many bikers that parked in the town square.*

*Two more flowerpot sculptures on a bench in the middle of the town square.*

*Here is a bigger view of the town square.*

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. From Newcastle-upon-Tyne to Settle, 3 Aug 2024

This post is going to be about our journey to Settle, not the destination. I want to devote an entire post to the gorgeous drive.

My next post will be about our first theatre, visited on Saturday, August 3– the Georgian Theatre Royal in Richmond.

On August 3, 2024, Mike Hume, Grit Eckert, and I traveled from Newcastle-upon-Tyne to Settle by car. Mike had rented the car, as he recognized that some of the theaters would be a nightmare to reach by rail. Good call on his part.

*Our journey from Newcastle-upon-Tyne to Settle on 3 August 2024.*

I am thankful that Mike was the driver and Grit was the navigator. This meant that I could drift in an out of conversations while taking pictures for future paintings.

When Minnesota skies turn gloomy and snow coats the ground, I revisit sunny locales with my paint brush.

August 3 was my first real vacation day in a long time. It was a much needed break from the constant stream of projects that plagued me back home. Spring and Summers have become especially busy times for me. I love my job, but I am constantly on the go. It’s a bit ironic that my most relaxing day would end up being a road trip.

Partially cloudy skies accentuated colorful hills divided with stone walls. Wherever we looked, the landscape was and dotted with sheep.

We slowly made our way to Settle, an estimated 2 ½ hrs. away. Initially zipping down the road, we caught a glimpse of the renowned Angel of the North.

*Catching a glimpse of* Angel of the North *from the car.*

Soon we ventured off the beaten path onto desolate country roads. It was a beautiful day for a relatively-short drive. This allowed us enough time to visit Durham before our afternoon appointment at the Georgian Theatre Royal in Richmond. After a quick snack of Haggis Scotch Eggs and Irn Bru, we were ready for sightseeing!

With no real plan, we walked to the biggest landmark – the Cathedral Church of Christ, Blessed Mary the Virgin and St. Cuthbert of Durham.

Unbeknownst to me, the attached Cloisters are a popular filming location. Two Harry Potters films and Avengers: Endgame used this as a filming location. What a surprise!

*The Cloister at Durham Cathedral, dating back to the 11^th century*.

After the cathedral, we wandered about town before heading back to the car park, then continuing on to Richmond.

*A view of Durham and the River Wear from the car park.*

*Boats on the River Wear – another future painting composition.*

The Roads narrowed as we heading south, slowing our journey to a snail’s pace. They soon became one-lane obstacle courses.

*We even followed this lovely vehicle for a short time.*

At Richmond, we had ample time to explore the town after our appointment at the Georgian Theatre Royal (the subject of my next post). We passed the Richmond Castle on our way to the theatre, a breathtaking sight in the afternoon light.

The late-afternoon drive from Richmond to Settle was spectacular. The one-lane roads were certainly a challenge to our fearless driver, but the landscape was magical. Here are a few of my favorite scenes; source material for future paintings this winter.

*Yorkshire Dales National Park, near Skipton*.

*Yorkshire Dales National Park, near Settle.*

We finally made it to Settle, with time to walk about town before enjoying a lovely dinner at our hotel.

*A view from our final descent to Settle.*

*Walking around Settle on the evening of August 3, 2024.*

*Ending the day with Haggis Bon Bons at our hotel!*

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…