Director: Donald Crisp
Cinematography: Henry Sharp
Master of properties: Harold MacChesney
Lighting effects: William S. Johnson
Technical effects: Ned Mann
Matte painting: Conrad Tritschler (uncredited)
Ned Mann was an all around FX supervisor but mostly his work was involved with miniatures. I assume some of the above images are hanging miniatures because Ned Mann used to work with expert miniature
maker Ross Jacklin.
When Ned Mann went to
hired by Alexander Korda to supervise FX for his films, he took Jacklin with him to make foreground miniatures for The Things to
British Opical effects master Tom Howard talks about Nedd Mann miniature effect at he book "Movie Magic. The story of special effects in the cinema."
By John Brosnan.
“Mann's team of Americans included a famous miniature hanger called Ross Jacklin, whose one skill was to build foreground miniatures which you could pan and tilt a camera over yet still keep them married into a full-size set”
Conrad Tritschler is one of those old time matte painters from the silent era whose work remains almost unknown. He was a British scenic and backdrop painter for Stage Theatre. He moved to
at 1923 to work for Richard Walton Tully productions on films like Trilby (1923)
and Flowing Gold (1924) where he painted
sets and backdrops. USA
Sometime during the late twenties and early thirties he went to work for Howard Anderson Company to execute glass and matte paintings on films like White Zombie (1932) or The Count of Monte Cristo (1934) He died in
at 1939. London
Those two images I think could be hanging miniatures.
Conrad Tritschler matte painting.
Before and after from one of the Tritschler matte paintings.