Tales from a Scenic Artist and Scholar. Part 150 – John Z. Wood and Horace C. Tuttle

Despite his success in fine art and some early theatre designs, Wood’s career hit a major obstacle in 1896 that resulted in a substantial financial loss. This event was like let the instigator that prompted Wood to seek employment at theaters. At that time, scenic artists could be considered a very lucrative profession. The substantial amount that one could make producing a variety of painted scenes was indicated in the lists of business transactions listed in Thomas Moses’ typed manuscript. You just needed to be fast and talented.

A newspaper article popped up in one of my online searches for John Z. Wood. In it, he was listed as the stepfather of Horace C. Tuttle (b. 1863). A sad story unfolded, describing family betrayal and subsequent financial ruin. Here is the article in its entirety from the “Democrat and Chronicle” (Rochester, NY) 30 July 1896, page 9:

Bad Predicament of a Young Man. Horace C. Tuttle Spent the Money of His Parents. His Arrest Followed. The Man Represented to Them That He Wanted the Money to Engage in Business in New York – Taken on a Minor Charge. Horace C. Tuttle, a young man well known in the city, was arrested at Batavia last Monday on a charge of skipping a board bill. Young Tuttle’s home at No. 17 Chestnut Street with his stepfather, John Z. Wood, who is an artist with a studio in the Reynold’s Arcade.

Interior image of Reynold’s Arcade.
1876 drawing of Reynolds Arcade exterior.

Tuttle’s sudden downfall has excited no end of comment in this city, as it was the general impression here that he was prospering in business.   He was a member of the Yokefellow’s class of the Asbury Methodist Episcopal Church and was at one time prominently identified with the Y.M.C.A. After graduating at the Free Academy he went to work in Miller’s piano store on State Street. He became dissatisfied at his small salary and the hard work he had to do and made up his mind to do business on a larger scale. He accordingly unfolded to his stepfather and his mother the outlines of a plan that he said would make him speedily rich. He told his parents that he had been engaged as a traveling salesman with Newby & Evans, piano dealers in New York city, and that of course it would take some money to get started. The cash was forthcoming and the young man departed for New York in high glee.

Philadelphia advertisement for Newby & Evans.

Once in the metropolis the young man’s mind began to work upon larger lines. He would make himself a member of the firm and get his foster parent to furnish more money. In proof of his assertion young Tuttle sent to his stepfather a letter written by John C. Johnson, stating that Horace was undoubtedly a man of unusual ability and was certain to make his mark in the piano business. If they could get hold of the money it would be an excellent scheme to furnish him with the necessary funds to make himself a member of the firm Newby & Evans.

On the strength of the letter from Mr. Johnson, represented by young Tuttle to be the vice-president of the company, and by virtue of the importunities of the young man himself. Mr. Wood was induced to send along about $4,000 in money to make his stepson a member of the firm. Tuttle visited home occasionally, and was always expensively dressed and invariably had lots of money. This, his parents thought, he had made as a result of his investment.

Newby & Evans vintage envelope.

About two months ago, as Tuttle had not visited home for some time, Mrs. Wood became alarmed at his long absence and wired Mr. Johnson, asking him where her son was. The answer came back from the firm Newby & Evans, but Mr. Johnson’s name was not at the bottom of the telegram. It said that there was no such man as “John C. Johnson” in the employ of the company and that they did not know any such person. Mr. Wood then called on Mr. Miller, the State street piano dealer, to find out something about Newby & Evans company. Mr. Miller did not know anything about them. Mr. Wood was shocked beyond measure. His stepson had represented to him that Mr. Miller was one of the leading officers in the company.

Other matters such as notes that were not met and board bills that had not been settled soon came to the notice of the unhappy couple and their eyes were soon opened to the fact that instead of investing the money the young man had been living on it and had spent most of the $4,000 that had been given him. Mr. and Mrs. Wood can ill afford to lose this amount and they are almost crushed by the news of the disgrace.”

The equivalent of $4,000 lots in 1896 is over $110,000.00 today!

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

Leave a Reply

Your email address will not be published. Required fields are marked *