SURPRISE! The Recorder editorial board does not agree with me about the mural, just as they hadn’t about the $20M re-purposing of the Chalmers building (that’s the empty lot on the South Side now), beautification efforts downtown and at City Hall (oh, maybe they’re on board now?), demanding fiscal accountability from the Golf Course, or about just about anything else I’ve attempted to change in the name of responsible progress.
I guess they are in the business of expressing their opinion (though the “news” seems to get mightily slanted by their bias). The thing that disturbs me the most about the Recorder is its persistent pandering of misinformation; i.e., that “HUGE” parts of the mural are lifting or missing (not) and that my attention is holding up the project (not.) The mural can easily be stabilized and repaired to a point that there is time for more improvements.
They also claim that I won’t “play nice.” How condescending and incorrect. I have repeatedly asked to have a group of interested folks do a walk-through to suggest creative usages of the room and discuss marketing the building. Throw fundraising into that scenario. The AIDA Buildings and Grounds Committee is disallowing our entry because of political reasons and personal avarice. One might wonder why the Recorder isn’t on top of that?
For those of you that have not had the pleasure of personally visiting (or viewing on my FB page) the MURAL that has been the topic of recent radio and newspaper fodder, I post the following photos. Please note, the “house” referred to in the Recorder is actually Historic Ft. Johnson.
This mural is on the third floor of AIDA’s building on Main Street. Through my prompting, representatives from the State Historic Preservation Office visited the site to recommend preservation strategies. The mural, original light fixture and medallion that had graced a prohibition speak-easy are pictured in the photos below. They are stunning and photos don’t do the space justice. The little money it will take to stabilize and keep this treasure pales in comparison to the huge gain we realize in protecting our history.
When AIDA made me aware of their interest in the building, I was pleased, as I had indicated then that the mural was to be considered an irreplaceable piece of our history and strongly advocated for its preservation. I had anticipated their cooperation in this matter. My stance has never changed over the decade since I first saw the mural or in the two years since AIDA had become involved.
Some comments by local historians:
“Had a nice chat with Bruce Conover, whose father used to own the building. The mural long predates the Seely Conover Company presence. In the day that room had been the home of one of the Red Men fraternal groups that were popular at the turn of the last century, so the mural likely originated with them, or at least that was the Conover family understanding.”
– Bob Going
“Once again, please satisfy yourselves by consulting http://www.fultonhistory.com under “Worley Moat” 4/25/1894. “Artist Worley Moat is giving the interior of the new hall of the Kenneyetto Red Men in the Morris Hall block a realistic appearance, now being painted to represent numerous portions of the Mohawk Valley so dear to the red men of years ago.” Moat’s father owned a brewery on Washington St… End of question I think, since it came right out of the 1894 Amsterdam newspaper.”
– Peter Betz, Fulton County Historian
That the AIDA Board is waffling about its preservation at this late date is a disgrace. They should have had a plan in place from the start, but it seems that planning is not a strong suit of the AIDA Buildings and Grounds Committee. The building has not been marketed and I have seen no evidence of an articulated budget or plan for the building, or any other of their holdings.
Unfortunately, this committee has also disallowed a few folks (realtor, historic preservationist, general contractor, city staff and me) from walking through the building to assess the mural and make recommendations about repurposing the room and marketing.
Just what is it that AIDA does, anyway? I’ve requested a Strategic Plan for their organization for years. So far, nothing but silence. How does the board progress its purpose and goals if they don’t have any?
AIDA was created as an economic development tool for the city, to work collaboratively with and strengthen city government. It certainly was not meant to be an separate, unaccountable government. I have requested that the agency supply the Council with all financial and organizational documentation necessary to get an exact picture of the agency’s true condition. I have been promised these documents by August 15th. I’ll update you as to receipt of this information. I’m sure you’re just as interested as I am to see what this group is up to.
And now, the photos:
WORLEY MOAT, THE ‘CHICKEN ARTIST’ OF AMSTERDAM
by Peter Betz
When I read that Gloversville’s Common Council is considering once again allowing city residents to keep chickens, I immediately thought of Worley Moat, Amsterdam’s long-forgotten ‘chicken artist’. Because his story mainly belongs to Montgomery County rather than Fulton, I was almost ‘chicken’ to write about him, since, as Fulton County Historian, my general obligation is to keep my historical eggs in Fulton County’s basket. I hope ‘crossing the road’ by writing about someone who lived ‘to the other side’ of the county line won’t lay an egg with readers.
Two other recent events also brought Worley Moat to my attention. First, a local ephemera collector recently found and shared a scrap book filled with Moat’s artistic drawings of prize-winning chickens with me and second, Amsterdam Mayor Ann Thane on her Facebook page recently shared photographs of some rediscovered 19th century wall murals of Mohawk Valley scenes located on the top floor of an old downtown Amsterdam building presently used by the Amsterdam AIDA organization which I and Amsterdam City Historian Rob Von Hasseln both think are probably Moat’s artistic work.
Just who was Worley Moat, why do we think he may have painted these lovely old murals, and what else did he do to cause him to be remembered? Starting a generation earlier, Worley’s father, Charles Moat, a coppersmith, immigrated to America from Hatfield, Yorkshire, England sometime in the 1850’s. According to a retrospective July 7th 1945 Amsterdam Evening Recorder article, Charles erected a brewery on Amsterdam’s Washington Street in the late 1860’s. The style of beer he brewed proved very popular with the many English émigrés working in the Sanford and other early Amsterdam factories. Charles Moat then invested in Amsterdam real estate and was president of the British-American “Sons of Albion” social club. He also served as President of the Board of Education, as a member of the Amsterdam Water Board, and as a village trustee, dying at 75 on February 11th, 1895.
Charles sold the brewery to son Walter on May 3rd 1886. Meanwhile Charles’ other son, Worley, followed a career path that seems based on his athletic and artistic abilities, plus his life-long involvement with poultry. He was first employed in the Amsterdam Daily Democrat’s Printing Department. Shifting careers, he became a member of Sanford’s rug pattern design team, probably a better outlet for his artistic abilities.
Worley’s greatest passion, however, was both raising and drawing prize-winning chickens, not surprising considering he grew up at a time in America when many very serious ‘poultry men’ engaged in breeding, cross-breeding and creating dozens of varieties of superior chicken varieties. Competitions at fairs and poultry shows, in which birds were judged via a very demanding list of criteria, were very serious business and significant prizes for breeding improved varieties were awarded. There were also a number of poultry magazines and journals promoting all this, and in these publications Worley Moat found his artistic niche as a sought-after, well-paid illustrator.
When I first heard of Worley Moat I immediately wondered where his unusual first name came from. A little research provided the answer. The NY Daily Tribune of October 1857 contained a tiny legal notice. Under the headline, “Nathan Worley, Cooking Apparatus, Plumbing and House-Heating” is found the statement, “The partnership heretofore existing between Nathan Worley and Charles Moat has been this day dissolved by mutual agreement, Nathan Worley having purchased the interest of Charles Moat, who retires from the business.” What Charles Moat did between leaving Worley & Moat in 1857 and appearing in Amsterdam circa 1867 doesn’t matter: Worley’s first name was obviously derived from his father’s former partner’s last name, probably given as a sign of affection and appreciation of Nathan Worley.
On January 28 1919, the Amsterdam Recorder published an old photograph taken in 1874. Among other early buildings shown is Moat’s Washington Street Brewery. In the foreground is a large brewery delivery wagon showing several men including Worley Moat. On June 17th 1939, it published a photograph taken in 1887 that also includes Worley, showing members of the J.D. Serviss Steamer and Hose Company, which frequently placed first against other hose companies around the state in running competitions. These were all proud, athletic young men in their absolute prime, stripped down to the bare essentials of what was then acceptable male clothing, white tights with black trunks, deadly serious about the business of “running out line and connecting nozzles” with their hose truck faster than their challengers.
Earlier on September 10 1884, the Amsterdam Daily Democrat headlined, “Victorious Once More”, declaring, “When the 6:35 train on the Central shot into the station last night, Worley Moat stood on top of the first car waving a small banner like a crazy man. In five minutes, more than 200 persons had swarmed off the train and up Main Street escorted by the Thirteenth Brigade Band to the Service Company’s house. Service Hose Company has returned victorious from a running contest for the third time within as many weeks.”
Other notices point to Worley Moat’s athletic abilities. On March 28 1930 Hugh Donlon in his Recorder column recalled, “It was only by a slender margin that Lincoln Eldredge, foreman of our composing room, lost a foot contest 45 years ago to Worley Moat, thereby depriving himself of glory and the newspaper editor who backed him of his ten dollars.” Another reference refers to Moat as “among the best oarsmen on the Mohawk River.” Yet a third notes that during July 1905, Moat and a companion, Peter Doran, lost a bet and had to walk from Fonda back to Amsterdam. He was also, of course, a member of the Amsterdam Wheelmen’s Club. Who during the 1890’s wasn’t?
Returning to our chicken saga, the earliest newspaper reference to Worley Moat appears on September 9th 1883 when he was 26 years old: he is listed as receiving First and Second Prize for his ‘Dominique’ variety leghorns at the New York State Fair.
But what connects local artist Moat with the recently-rediscovered murals painted on the walls of downtown Amsterdam’s AIDA building’s top floor? As usual, it’s just a matter of research. The connection is made with the discovery of an Amsterdam Recorder article printed April 25, 1894. “Artist Worley Moat is giving the interior of the new hall of the Kenneyetto Tribe of Redmen in the Morris Hall block a realistic appearance, now being painted to represent numerous portions of the Mohawk Valley which were so dear to the red men of many years ago,” exactly what the rediscovered murals show.
Worley Moat died prematurely aged only 51 on July 26th 1908. His passing received generous coverage in the Amsterdam Evening Recorder when he accidently fell down the stairs in his home at 131 Market Street, breaking his neck. His daughter Dolly discovered him at the bottom of the stairway in the morning. Reviewing his life, the Recorder reporter concluded, “A lover of poultry, he painted original sketches of first class birds used in leading poultry journals.” Worley, his wife and daughter are buried in Amsterdam’s Green Hill Cemetery, and no, his grave marker does not have a stone chicken carved on it.
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