Showing posts with label Ottumwa. Show all posts
Showing posts with label Ottumwa. Show all posts

Friday, July 18, 2025

more on camoufleur Carol M. Sax from Ottumwa Iowa

Carol M. Sax / passport photograph (AI colorized)
In earlier blog posts, we've shared quite a lot about Iowa-born theatrical designer and ship camoufleur Carol M. Sax, originally from Ottumwa. Below is a full article about him from 1917, with additional mention of Boston-area artist Clara Lathrop Strong. An essay on Sax's life and his involvement in camouflage is included in the book, DREAMS OF FIELDS: Memory Traces of Iowa's Past (August 2025).

•••

Katherine McKinsey, MARYLAND INSTITUTE CAMOUFLEURS: They Are Working With Carol M. Sax In The Hope Of Becoming An Integral Part Of The Nation's Military Establishment And Already Have Been Recognized By The Government, in Baltimore Sun, December 16, 1917—

Camouflage? What is this camouflage, anyway? You may have noticed the word—nay, you must have noticed it! It pops out at you as regularly and much more often than the brute who endeavors monthly to collect a large rent for your very small apartment. There is no escaping it. It is as popular as hot fudge sundaes!

Unless you have introduced it into your vocabulary and can work it as easily as any other good American word like "ain't" and "Ish'dworry" you are, so far as the chatter of the day is concerned, practically speechless. It appears in newspaper print quite as frequently as "over there," which is saying much.

An expert who comes into closeup contact with all terms, decadent and otherwise, flung about by fertile fancied writers, says the public is fairly "wised up" on the word camouflage. It is his candid opinion that you can run up to Elkton, drop into the corner grocery store and get from the grocer's clerk's youthful assistant a fairly intelligent definition of the word.

Camouflage? Why, Sure
A New Yorker who dropped into the Army Information Bureau in his city didn't find anyone there in doubt as to its meaning. The moment it was mentioned a dozen khaki clad figures stopped whatever they were doing and stood ready to volunteer for the duty of explaining. Camouflage is just as plain to them as the noses on their comrades' faces.

Jane Dixon in the New York Sun reports the great experience of the adventurous New Yorker as follows:

"'See that water cooler there?' indicated the Sammie who reached the front trench of information a trifle in advance of the others.

"The water cooler was conceded.

"'Well, if I took that water cooler and painted it gray to match the wall so the slackers who come in here just to hang around and get an earful wouldn't see it and drink up all our ice- water, that would be camouflage.'"

So you see: Camouflage is rigging up things to fool persons—particularly and especially enemy persons in war time. The word began in French music-hall slang before there was a war or any thought of war and it meant "faking"—which it still means, but with more serious import now.

The curious New Yorker's pursuit of knowledge on the subject of camouflage led him to the British recruiting offices where he was received by Sergeant Major MacKenzie. To quote again from Jane Dixon's report of the pursuit:

"'Camouflage?' he smiled from high altitude (he measures something over six feet four unshod). Indeed, yes. It is most important. We have been employing it regularly and with great success.

"'For instance,' prompting.

"The last time I remember seeing a flagrant example of the worth of camouflage was in the battle of the Somme. The artillery fire was terrific. We kept pumping in the shells and as we pumped we advanced.

"'We were in what is called the chalk country. There is a thin layer of topsoil and under it a chalk formation. The recoil of the big guns stripped the topsoil off, leaving the chalk exposed. The chalk, of course, is white. To prevent the enemy from sighting the guns against this white background daubed them white. It was difficult for airplanes to detect them and give the range.'

"'Sounds reasonable,' this by way of encouragement.

How It Works
"This daubing of guns, trucks, ambulances, supply trains, tanks and the like is general along the front. A variety of colors are used to give the bulk a conglomerate appearance and defy detection.

"'Gun positions are concealed by boughs stripped from trees and made to look like a clump of underbrush. A hedgerow, common in that country, will often be a mushroom growth built up to last a few hours and conceal an advanced trench.'

"What is the most effective bit of camouflage you have ever seen?' was asked.

"'A difficult question, I should say. You see in our ranks each man works his own camouflage. The ingenuity of individuals, companies and whole regiments in inventing ways and means to deceive the enemy is a marvel of human wit.

"'Probably the best example of it I have seen was a little cottage nestled down among fruit trees somewhere in France. It was a peaceful cot, with chickens and a pigsty and a cow and a dog lying on the stoop in the sụn.

"The enemy advanced within range. Suddenly one end of the peaceful little cottage opened up and a very unromantic nine-two poked its nose out. My word, how she did bite!'

"'The identity of the nine-two is not entirely clear, but from the tone used in referring to her she is adjudged a highly explosive shell shooting machine with steel jaws and a sweet tooth for Huns."

So this is camouflage! Since it has a French name no doubt the French were first to employ it. Then the British took it up and we Americans are to apply to the uses of camouflage our thought and skill and make it a thing of more value than has as yet been dreamed of.

The United States Army now numbers among its many branches one Camouflage Company which is in training at camp at the American University, near Washington. Its personnel includes artists, sculptors, architects, engineers, chemists. stage directors, theatre and circus mechanics, photographers, moving-picture scene makers, metal workers, etc. They are all enlisted or commissioned members of the army.

Maryland Institute Has Class
But not only in the properly enlisted and commissioned ranks of the Camouflage Corps is there training in the use of disguises and protective coloring. In Baltimore, at the Maryland Institute, there is a hard-working class of camouflage students preparing for a time when their services may be needed.

One of the plaster casting rooms in the basement is being used as a studio by the class and if you visit this studio it is best to enter warily since it is not pleasant to bump one's nose upon a camouflaged hunk of clay.

The work here is necessarily of a very limited nature since camouflage involves engineering, mechanics, construction (which includes building with wood and masonry, and the finer points of trench digging and the making of wire entanglements); and, in addition to the purely artistic branches of the work, the members of the Camouflage Corps are trained in all military branches in order that they may be self-protecting and thus a help rather than a burden to the army corps with which they are detailed.

But that such a class as that being conducted at the Maryland Institute may be of recognized value is indicated by a letter from Major General W. M. Black, Chief of Engineers, United States Army, under whose command is the Corps of Engineers known as the Camouflage Corps, which is commanded by Captain Aymar Embury, USR. The letter is addressed to Mr. Carol M. Sax, instructor of the School of Design of the Maryland Institute and instigator and volunteer instructor of the camouflage class. It reads as follows:

Letter To Mr. Sax
"In reply to your inquiries as to the probable utility of experimental work in camouflage conducted independently by the Maryland Institute of Fine Arts, I beg to inform you as follows: We believe that an organization trained as you have suggested will be extremely useful. First, because of the probability that new ideas might be developed by such an organization; second, because a continuous organization of this kind will be of value to the Department in insuring the preservation of all schemes which have been tried and thought out; third, because there may very likely be a call for civilians to prepare articles to be shipped abroad so that they may be concealed as readily as possible.

"As to the co-operation of this department with you—your organization will have to be entirely voluntary as we have no authority to assist such an organization financially. A competent officer or non-commissioned officer could be detailed to criticize and instruct or advise your classes, should its size and interest warrant this course. It will be advisable to have this course conducted near the American University Camp, Washington, DC, where camouflage experiments under the Regular Army are being made, if possible. If not they may be forwarded to some convenient spot near Baltimore.

"Mrs. S. L. Strong, of Marshfield Hills, MA, is desirous of forming such a class and writes that she has a very considerable number of persons who are ineligible for military service and who desire to attend such a class. I would suggest that you take the matter up with her and see if the two classes cannot be combined. Our experience is that interchange of ideas between groups of persons results in more fertility of invention than when it is confined to a few people."

A later letter from Major General Black stated that a scarcity of "competent officers or non-commissioned officers" which had become evident precluded the possibility of sending such an officer to the Maryland Institute class. The promise of the service of such an officer, however, is not the most significant note in the quoted letter of the department's recognition of the value of a class such as that suggested by Mr. Sax.

This letter says "second, because a continuous organization of this kind will be of value to the department in insuring the preservation of all schemes which have been tried and thought out." The significance of this clause appears when it is explained that the Camouflage Corps now in training is destined for work at the war fronts in Europe. When its course of training is completed it will be sent "over there," and unless its personnel is divided and some of its members are kept in this country to train future corps the results of its experiments and thought will be carried with it and a new corps will of necessity be compelled to start its experimental work where the first corps started instead of where the first corps finished.

Here, then, is the value of a definite and permanent camouflage organization composed of persons not eligible for military service, but eminently eligible for camouflage work. That the department would keep such an organization in touch with the work done by the Camouflage Corps can be the only inference placed upon the clause quoted above, for an organization cannot preserve "all schemes which have been tried and thought out" unless it is officially informed of those schemes.

Women Camoufleurs
Mrs. Strong, in a letter to Mr. Sax, told of her plans for a woman's camouflage training course for which she expected at least 1,100 members from all over the country. She had been offered land at Edgemoor, near Washington, for a camp and proposed a course of training to extend over a month or six weeks. This, of course, would be insufficient time to become proficient in all camouflage includes and the difficulty now, when Washington is overwhelmed by transient and new population, of housing and boarding a large body of women would be great. This class was not intended to be a permanent organization.

In a later letter Mrs. Strong expressed a strong desire to merge her plans with those of Mr. Sax if it should become possible to have a military instructor from the Camouflage Corps. In the event of such co-operation about 50 women would come to Baltimore to join the class. Home accommodations can be secured for them by the Young Women's Christian Association. Mr. Sax has been assured by that organization. But the difficulty in carrying such a plan into operation lies in the fact that there is not to be a military instructor. So it is probable that the Maryland Institute class will continue as it is now—an independent and voluntary organization working under the tutelage of Mr. Sax and with the sanction and approval of the War Department as given through Major General Black.

Therefore any day that you may feel so inclined you may step into the camouflage studio at the Maryland Institute and watch a clay cube be made to become invisible by the clever application of paint. So far only the problems of protective coloring as are to be overcome in a fixed light coming from a single angle have been studied. Shortly the class will hold its meetings outdoors so as to become familiar with the difficulties to be overcome in the changing light of the open air. There are at present eighteen members and they meet every day.

Sax Enthusiastic
In speaking of his work Mr. Sax becomes enthusiastic. "I have always been: very much interested in the protective coloring of animals as an outgrowth of my routine art work and I studied quit a good deal in the American Museum of Natural History in New York and in the Field-Columbian Museum in Chicago, where the animals are mounted in their natural surroundings so as to show the value of their colorings as a protection from detection.

"When the subject of camouflage in war first became known I was interested in it for the same reason that the camouflage of the wild animals appealed to me. I read whatever I could secure on the subject and heard several excellent and interesting lectures. There is, however, so little written or generally known of methods already used or still waiting the discovery of the experimenters that the ideas of the veriest amateurs have every possibility of being quite as valuable as those of the experienced 'camoufleur.'


There are two systems of camouflage in use. One makes battleships invisible at a distance of three miles. I could see them fairly distinctly at distance of one mile, but I could see the battleships painted the customary plain gray even more distinctly at a greater distance.

"The colors are put on in alternate stiples of glazed and dull paint. The blotches are by no means applied at haphazard as a close view of the result might lead one to suppose, but a small, flat model of the ship's side is made and painted during a series of experiments in which it is frequently placed upon a wheel and revolved at a definite speed, whereupon the colors blend into the color of sky and sea or not, just as the colors are correctly placed or not.

"This is, of course, only one phase of camouflage, but it involves more than any other the problems of protective coloring. There is here no framework covered with boughs to hide a gun—which is merely the hiding of a gun. A gun painted in such a fashion that it merges at a certain distance with the colors of the earth upon which it rests will have been treated to a coat of protective coloring.

Disguising Wire Entanglements
"The McKay system is much used in the camouflaging of wire entanglements. A black wire stretched upon ground of light color, or a bright wire stretched over a dark surface is easily discernable, but a wire painted in alternate stripes of black and white becomes at a comparatively small distance invisible to the observer.

"And now that we are really getting to know something of the methods of protective coloring it is necessary for us to seek ways of detecting the result such methods when used by our enemies. It has been learned that a cleverly camouflaged fence may be detected by the shadow which it casts and though such a shadow may not be readily discerned by the eyes it is infallibly revealed by the camera.

"The photographic plate also frequently reveals artificial coloring. It has even been said that the camera can detect the use of artificial foliage or grass, because it photographs in a different tone from that which real foliage or grass photographs, but no successful demonstration of this fact (if it is a fact) has as yet been made.

"The possibilities for new discoveries of value in protective coloring or in the detection of protective coloring are tremendous and it is our hope that some of the discoveries of greatest value may be made through experiments made in Baltimore at our own art school." 

RELATED LINKS

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

Sunday, June 17, 2018

More on Iowa-born Ship Camouflage Artist Carol Sax

Des Moines Register Article on Carol Sax (1919)
Above In August 2017, we featured a long blog post on an Iowa-born theatre designer named Carol Sax, who had taught scenic design in Baltimore, and served as a ship camoufleur for the US Shipping Board during World War I. We've since found another (slightly different) version of the same article, featured (apparently) in a different edition of the Des Moines Register on the same day (February 2, 1919, p. X7. It includes a photograph of Sax (from Ottumwa) as well as a dazzle-camouflaged ship.

Thursday, August 3, 2017

Camouflage Artist | Carol Sax from Ottumwa IA


Above The top image is a colored lithographic print of a World War I dazzle camouflaged merchant ship. These plans were printed in multiples and distributed to various harbors around the country, They were used, as described below, as on-site reference diagrams as the ships were being painted. This particular copy (in the collection of the Cooper-Hewitt Museum) is oddly signed by Baltimore artist Griffith Bailey Coale, suggesting that he designed it. He may or may not have, probably not. As a camouflage artist, he was not attached to the US Navy's Camouflage Design Subsection in Washington DC, where the plans were originated. Instead, he and Carol Sax were part of the Emergency Fleet Corporation, whose artists were responsible for applying designs that had been developed by the artists at the subsection. Several incomplete sets have survived, most notably at the Fleet Library at the Rhode Island School of Design. In each complete set, there are more than 450 dfferent designs.

Below that is a wooden model of the same ship, covered with more or less the same design. These ship models (about one foot in length) were prepared first, then tested for effectiveness in a special periscope-equipped viewing theatre. Based on those test results, the scheme was either abandoned, or modified and then passed on to the drafting room, where the colored diagram was prepared.

***

Carol Mayer Sax (1885-1961) was an American artist, theatrical designer and teacher who served as a ship camouflage designer during World War I. Born and raised in Ottumwa IA, he spent much of his professional life as a teacher and theatre designer in Baltimore MD, Lexington KY, and New York. His father, Jacob B. Sax (1853-1922) had immigrated to the US from Germany, where he became the proprietor of a major clothing store in Iowa, the J.B. Sax Company in Ottumwa. 

Sax's mother Estella (or Stella) Mayer Sax (1864-1928) (born Rosenfield) grew up in Rock Island IL. Described in retrospect as a “wealthy socialite,” she was a prominent member of the Ottumwa Women’s Club, and in 1903 was the city's delegate to a meeting of the Iowa Federation of Women’s Clubs in Des Moines. She “was involved in other civic and charitable activities and was known for her collection of art, and [her] love of travel.” In a article in the Ottumwa Courier (December 15, 1945, p. 11), it was announced that the family mansion had been given to the Trinity Episcopal Church, which is in the same Fifth Street Bluff Historic District. Following the death of the parents, the huge home was maintained for several years by Carol Sax and his sister “as a virtual museum and memorial to their parents who had filled the home with art treasures, collections of antiques and rare furnishings. The garden, too, had been maintained as one of the city’s showplaces."

After completing high school, Carol Sax studied art at the School of the Art Institute of Chicago, the Art Students League in New York, the National Academy of Design, and Columbia University. In the fall of 1912, he returned to Iowa to deliver a talk at the Southern Iowa Normal School (a school for teacher training in nearby Bloomfield) on the value of drawing, and to urge that subject to be taught in public schools “more fully or dropped entirely.” The text of his talk was reprinted in the Ottumwa Courier (August 27, 1912, p. 4).

Denis Broughton (1900) Photograph of Ruth St. Denis


In 1916, while working independently as a designer in Baltimore, Sax was one of three founders of the Vagabond Players, one of the country’s oldest, continuous acting arenas, associated with the Little Theatre Movement. It was Sax who designed the Vagabond Theatre interior, on West Center Street near Monument Square in Baltimore. Meanwhile, while working professionally, he was praised for the sets and costumes he designed for Ruth St. Denis, an early proponent of Modern Dance, co-founder of the American Denishawn School of Dance, and a teacher of Martha Graham.

In the fall of 1915, while still living in Baltimore, Sax started an informal workshop in applied (or commercial) art, in which his students (functioning as informal interns) designed and constructed theatre components for actual stage productions. The success of that workshop apparently led to an offer to teach at the Maryland Institute of Art. In the words of a Baltimore news article (quoted in an issue of the Ottumwa Daily Review, April 10, 1916, p. 3)—

There was a feeling among the pupils [in Baltimore] that in graduating they suffered a disadvantage in trying to take commercial positions without having any distinctly commercial training. Understanding this difficulty on the part of the pupils and feeling that there existed a [rationale] for it, Mr. Sax started his commercial art class, at first quite separate from the Maryland Institute. A studio was rented [in] November a year ago [1915] and Mr. Sax, to give the class a start, turned over to it his personal commissions, which, he declared, was no sacrifice, as he didn’t have time to do them himself anyway.

From November to April of the first season the pupils handled commissions amounting in all to $2,000, a pretty good starter.

This year [1916] the class, having got a start, [was taken over by] the Maryland Institute. The former studio was [abandoned and the class is now taught] in a big room on the first floor of the Institute Building.

***

Later that year, the Ottumwa Courier noted (September 12, 1916, p. 7) that "The Maryland Institute is the largest art school in the country, having an enrollment of 1,400 pupils, and Mr. Sax has 300 in his classes.”

••• 

Baltimore’s Vagabond Theatre opened in November 1916 with an inaugural program that included three one-act plays, one of which (an esoteric experiment called The Artist) was written by celebrated Baltimore journalist H.L. Mencken. In the months before the opening, as Carol Sax was painting the interior of the Vagabond Theatre, a local artist who worked with him was a muralist named Griffith Bailey Coale (1890-1950), who had studied at the Maryland Institute of Art, and at European museums and art schools. Coale’s participation is curious because (like Sax) he too would later work as a camouflage artist in the closing years of WWI. Both men were contracted by the Emergency Fleet Corporation, which oversaw the application of dazzle camouflage schemes to American merchant ships. Among other camouflage artists who worked as camoufleurs in the Baltimore shipyards were James H. Daugherty, W.S. Gephart, Ralph Boyer, Henry G. Pierce and Jesse Mason. 

Another of the founders of the Vagabond Players was Constance d’Arcy Mackay (1887-1966), whose family was from St Paul MN, and who popularized the Little Theatre Movement by her influential book in 1917. It is entirely speculation that she may have been related to a prominent New York interior designer named William Andrew Mackay (1876-1939), who had created murals in 1904 for the Minnesota House of Representatives Statehouse in St Paul. Later, during WWI, Mackay established a camouflage school in his New York studio, and was hired by the Emergency Fleet Corporation to oversee merchant ship camouflage at the New York-area shipyard. A substantial number of the artists who contributed to WWI ship camouflage (including Coale and some of those listed above) were apparently trained by Mackay, of whom Sax was probably one. As for another possible link between theatre innovator Constance d’Arcy Mackay and camoufleur William Andrew Mackay, it may be significant that the latter’s father, Frank Findley Mackay (1832-1923), was a well-known stage actor, acting teacher, theatre enthusiast, and owner of the Chestnut Street Theatre in Philadelphia. Another possible link may be through Charles Donald Mackay (1867-1935), brother of William Andrew Mackay, who was a stage and silent film actor. 

While not directly relevant to camouflage, it is fascinating nevertheless that, as Carol Sax was preparing the Vagabond Theatre for its opening, another person who worked with him was a physics professor named Robert Williams Wood (1868-1955). Wood was an accomplished American physicist, and a pioneering contributor to the study of ultra-violet light and infra-red, He was living in Baltimore because he had been teaching at Johns Hopkins University since 1903. Wood served in the US Army during WWI, and even if not directly involved in camouflage, he was greatly interested in theatrical lighting, stage magic, and the widest range of illusions. In addition, Wood was notoriously inclined toward practical jokes (not always harmless) and amusing but simple humorous rhymes. Among non-scientists today, he is most often remembered as the author and illustrator of a children’s book about spurious resemblances, titled How To Tell the Birds from the Flowers and Other Wood-Cuts: A Manual of Flornithology for Beginners, in which he used mock-mimicry (in drawings and verse) to confuse a Pansy with a Chimpansy, an Antelope with a Cantaloupe, and a Parrot with a Carrot.


When WWI ended in November 1918, Carol Sax had been working as a camouflage artist for only a few months. Soon after, when he returned to Iowa to visit, an article was published in the Des Moines Register about his experience as a camoufleur. The following is the complete text from that—

IOWAN AIDED US AS CAMOUFLEUR in Des Moines Register. February 2, 1919, p. 30—

OTTUMWA, IA, Feb. 1—C.M. Sax, an Ottumwa boy who was one of the 246 artists of the country salaried by the Emergency Fleet Corporation as an official camoufleur has laid down his brush for a time with the coming of peace and has been visiting at his home here. Mr. Sax is art instructor in the Maryland Institute at Baltimore and chair of the art division, Baltimore Admen’s Club.

His particular duty was camouflaging Uncle Sam’s transports and cargo carriers so that these ocean liners could evade the German sub. Recent figures given out show that camouflage of ships played one of the biggest parts in the defeat of submarines. So effective was the “dazzle” system of camouflage used by the Americans that of the 1,240 ships painted in this manner only nine were sunk by subs. The percentage of sinkings among uncamouflaged vessels is said to have been nearly four times as great.

“At the outset,” says Mr. Sax, “painters were secured and foremen employed to mark off lines from the designs furnished in a purely mechanical way. This was effective only when the designs had been drawn to the scale of a given ship. However, when designs had to be adapted to other ships of differing types and sizes, as was invariably the case, it was necessary to have the supervision of a camoufleur throughly conversant with the principles of camouflage. 

"In some instances the vessels were not camouflaged, but merely repainted in weird color schemes. Without the scientifically artistic eye, the very angle that should have been covered might have been left undone, and shadow effects placed where there should have been light.

"It was found that no design could be used without some adaptation on two different types of ships, even though they be of about the same size. Hence it was necessary to have camoufleurs on the job at all times to determine these adaptations. Sailors often would assist the artists with a zeal not displayed by less interested employees.

"Camoufleurs also had their troubles, especially when the work was first taken up. When the scheme finally was accepted, however, orders came in rushes. Consequently it was up to the camoufleurs to get them out in a hurry. Often times a ship would come into port, and while it was being loaded or unloaded as the case might be, artists had to veil it with a coat of disguising designs. Ordinarily it took from one to six days to ‘do’ a ship.

"In the beginning camoufleurs experienced some difficulty in convincing proud ship captains that at times neatly kept brass fittings must be marred by great streaks of paint. To leave any parts undone meant the annulling of the whole camouflage scheme. It was the purpose to break up straight lines or any distinguishing angles about the ship’s structure so that from the periscope it would be unable to determine the course of the ship. Many of the designs caused the ship to have two bows or sterns.

"When naval officers were skeptical about the effect of camouflage they would be taken to the camouflage theater [in William Andrew Mackay’s studio] in New York City, where from improvised periscopes they would attempt to observe the course of models which had been camouflaged. Their inability to determine the course quickly convinced them.”

***

At the end of WWI, Carol Sax returned to his position at the Maryland Institute of Art. A few years later he moved to the University of Kentucky at Lexington, where he served as the Head of the Art Department from 1921 to 1929. Around 1924, he once again founded a “little theatre,” called the Romany Theatre (the name alludes to vagabonds and gypsies) in Lexington. This became possible when an African-American Baptist church relocated, and its small ramshackle building (on the edge of the university campus) became vacant. The purpose of the Romany Theatre was “the presentation of plays on the basis of art with the element of commercial profit left out, and its players are both local and imported” (as reported in The Key, Vol XLII No 1, February 1925, pp. 25-26). In 1928, a new director was appointed, and it was renamed the Guignol Theatre.

Initially, the outside of the newly founded Romany Theatre was “a dreary sight…sickly, greenish gray in hue, a drab, ugly shack.” As a promotional gimmick, Sax and his students came up with a plan of “inviting the student body and townspeople to a painting party, the purpose of which was to be the brightening of the Romany’s exterior.” Earlier, in WWI news reports, dazzle-camouflaged ships (such as those that Sax and Coale had worked on) had been lampooned as cubist nightmares, sea-going easter eggs, a Russian toyshop gone made—and even the delirium tremens. At the end of the Romany Theatre’s painting party, the building’s exterior was “adorned wth gaily colored splotches of paint, campus caricatures, and football scores…” It reminded some people of a dazzle-camouflaged ship, and indeed it was described in a magazine as “a nightmare, a riot of color, resembling nothing so much as the palette of an artist with delirium tremens."

In contrast to the outside, the building’s interior (of which a photograph survives) was anything but chaotic. Presumably designed by Sax, it was “a soothing symphony of exquisite blended color harmonies. The wall of the toy foyer are decorated with beautifully patterned Russian designs, and the entire interior carries out the gypsy motif in tambourine lights, mural decorations and curtains." 

Romany Theatre painting party

Romany Theatre interior and stage


In 1922, while Carol Sax was still at the University of Kentucky, his father died. His father Jacob B. Sax, a wealthy Ottumwa clothing store merchant, was praised in the press at the time of his death as a “bank trustee and official, promoter of civic enterprises and one of the leaders in charitable and philanthropic efforts…[a person who] was active in every form of civic interest.”  Six years later, when Carol Sax’s mother died, she too was remembered as having been remarkably generous in her contributions to the community. It was recalled that she was active in the group that organized the public library, years in advance of the opening of the city’s Carnegie Library in 1902. The civic activities of Carol Sax’s parents appear to have encouraged his own. Throughout his professional life, he was frequently featured in Ottumwa newspaper articles, describing the occasional visits he made, during which he encouraged local artists, sponsored art exhibitions, and gave talks on the virtues of studying art. 

One of his last visits took place in 1941, when he was slated to discuss “Art and the Theatre” to a public audience at the city’s community art center. As reported in an article in the Ottumwa Courier (October 16, 1941, p. 7), the walls of the gallery in which Sax’s talk was held were lined with works of abstract art. Sax began by talking about his career in the theatre, but at some point an audience member asked, “What is that conglomeration behind you?” His talk then became a discussion of how to understand abstract art, portions of which were reprinted in the news story: “Abstract art has value,” said Sax, “if it contributes something in the way of aesthetic appreciation. Too many people look at abstract art and try to find representation there. It isn’t present. It isn’t supposed to be. Abstract art is a treatment of form, color, line, space."

***

In 1929, Sax left the University of Kentucky, and relocated to New York. He then joined another experimental theatre, in this case an American stock company, located in Paris on the Champs Élysées. But the governmental red tape was frustrating and the productions were not of sufficient appeal to French audiences, in part because they only used American actors, performing in mostly American plays. He remained for only a season, then returned to New York, where he once again worked as a theatre designer. 
Another opportunity to live outside of the US came in the fall of 1934, when he was named the managing producer of the Manchester Repertory Theatre in Manchester, England. But that too was short-lived, and he soon returned to New York, where he resumed his professional work in theatre design and production.

Carol Sax died in New York on September 28, 1961, at age 76.

***
I am grateful to the staff at the Ottumwa Public Library, where I was able to find information about Carol M. Sax in their genealogy research files.—RB