Copyright © 2021 by Wendy Waszut-Barrett
Howard Tuttle worked for Thomas G. Moses and the Sosman & Landis studio, c. 1887-1890.
Tuttle was born in Philadelphia, Pennsylvania in 1859. Very little is known of Tuttle’s training or early childhood. However, his artistic endeavors on the streets of Philadelphia included sidewalk drawing, a pastime that connected Tuttle to Henry and James William Carling in an article published by the “Times Dispatch” on May 2, 1937 (Richmond, Virginia, page 63). The article reported, “James landed in Philadelphia, and the two brothers continued their sidewalk drawing with a boy named Howard Tuttle, the famous manhood scenic artist.” For historical context, Carling supported himself as a sidewalk artist and Vaudeville caricaturist for a while in America.
In regard to Tuttle, in 1877 he married Sarah Gohl (1860-1921) and the two celebrated the birth of three children. The eldest, Percy Tuttle, was born in Chicago in 1878 and became an actor. He was the first to pass away in 1908 from a tumor that caused paralysis of both upper and lower extremities. Hazel was born in Michigan in 1886 and Maurice was born in Chicago in 1889. Both followed in their father’s footsteps as scenic artists.
The first listing that I have located for Tuttle as a scenic artist is in 1885. He was working as a scenic artist at Hooley’s Theatre, while living at 359 Hurlbut Ave.
Two years later, he was working for Thomas G. Moses and then Sosman & Landis. In 1887, Moses established Burridge, Moses & Louderback, a scenic studio at with Walter W. Burridge and J. D. Louderback at the Columbia Theatre. pulled out of the firm by that fall, with Moses & Louderback continuing for a short period after that. When Burridge left, Moses hired Howard Tuttle, writing, “Burridge and Louderback couldn’t agree, so Burridge pulled out on November 20. Howard Tuttle joined us at our loft we rented on Lake Street.” From 1889 to 1890, Moses & Louderback placed a card in J. R. Clancy’s stage hardware catalogue, advertising “Contractors for all stage appliances. Estimate furnished to all parts of the world,” with their offices at offices at 22 Chamber of Commerce. They also worked as subcontractors for Sosman & Landis at this time too, as work poured in from all over the country.
In 1887 when Tuttle was brought on board, Moses recorded that “Tuttle did most of the big melodrama of ‘Tank Drama.’ Lights and shadows.” Tank shows were productions that used actual water on stage. On Dec. 25, 1887, “The Chicago Tribune” reported, “The tank drama marks the entrance of the plumber into literature and for the time being has eclipsed the carpenter in the public estimation. To see the stage turned into a big tub of water, across which boats are rowed, is enough to awaken the enthusiasm of the gallery gods who, perhaps never before in their lives showed a preference for the element in question” (page 19).
Moses’ next mention of Tuttle in his memoirs was from 1889. The two worked out west from the fall of 1889 until the spring of 1890, painting scenery in California, Oregon and Washington. Their first project was in Riverside, California. Moses wrote, “Found Howard Tuttle in Riverside. He had come on to help me as I had too much to do. We worked night and day, and every evening a number of ladies would drop in from the hotel to watch us. They were very interesting – very refined – mostly from the Eastern cities. It was a pleasure to meet them…We had many experiences in and around Riverside, too numerous to mention in detail. We completed the work December 30th.”
The two then headed up the coast to Tacoma, Washington, stopping by San Francisco for several days and then Portland. Of their stay in San Francisco, Moses wrote, “Tuttle liked the city. Had a pleasant visit with Bill Porter, artist of Tivoli Theatre. We then went to Tacoma for several days. Got some extra work to do, after I had Portland underway.”
By Feb. 8, 1890, Moses and Tuttle completed the scenery for the Tacoma Theatre, as well as a small project for the Arion Hall in Portland, Oregon. Heading south to Corvallis, Oregon, they painted scenery for a small hall. Of their hotel in Corvallis, Moses wrote, “One day Tuttle and I took all the candy at the table (as no one ever ate it) and gave it to the children on the street. We found the dishes filled up again at night.” After finishing their work in Tacoma, they headed east to Spokane, Washington.
Moses, Tuttle and Loitz were credited with the scenery for the Grand Opera House in Spokane. On April 19, 1890, the “Spokane Daily Chronicle” reported, “The drop curtain and scenery for the new Spokane Grand Opera House have been completed by artists Thomas G. Moses and Howard Tuttle have returned to Chicago. Stage carpenter Joseph Wikoff and Edward Loitz, the representative of the scene painting firm Sosman & Landis of Chicago are now in charge of the stage and scenery” (page 5). On Sept. 16, 1890, the “Spokane Falls Review” reported, The entire work on stage has been executed by Messrs. Sosman & Landis of Chicago, under the supervision of Thomas G. Moses, assisted by Howard Tuttle and Edward Loitz. The work throughout has been artistically designed and admirably drawn. The coloring, shading and tints are clearly and strongly brought out and will give a realistic effect when placed in position” (page 7).
Moses and Tuttle returned to Chicago for a short respite before heading out on the road again. In June 1890 Moses joined Tuttle in Evansville, Indiana, for another project at the Grand Opera House. This may have been one of their last projects together, as by 1891, Tuttle moved to Milwaukee, Wisconsin, where he established his own studio.
On Jan. 13, 1892, Tuttle was among the scenic artists present at the organization of the American Society of Scene Painters. Keep in mind that the executive staff was Richard Marston, president; Henry E. Hoyt, Harley Merry and Ernest Albert, vice-presidents; Homer F. Emens, treasurer; and Sydney Chidley, secretary. On June 26, 1892, the “Pittsburgh Press” reported, “the objects of the society are to promote the artistic and practical efficiency of the profession and consolidate as a whole to the dignity of the profession hitherto maintained by the individual artist. Practical reforms in the conduct of professional business are anticipated” (page 7). Other members of the organization included George Becker, Moses Bloom, Harry Byrnes, Sydney Chidley, James Fox, W. Crosbie Gill, Frank King, Richard Marston, Harley Merry, John A. Merry, Thomas G. Moses, Arthur Palmer, Seymour D. Parker, Frank Platzer, W. T. Porter, Adolf T. Reinhold, John Rettig, John W. Rough, Horace N. Smith, Orville L. Story, A. G. Volz, Harry Weed, David W. Weil.
In Milwaukee, Tuttle became associated with the Davidson Opera House. He quickly gained a reputation as Tuttle worked his way across the country. In 1893, he painted scenery for Dolan’s Opera House in Logansport, Indiana. On July 25, 1893, the “Logansport Reporter” published, “Mr. Tuttle is a scenic artist of prominence, who has done work in many of the leading houses of the country and who formerly had a studio of his own in Chicago. His headquarters at present are in Milwaukee. His work here will consist in twelve sets and a drop curtain. He is assisted by Walter Edwards.”
Over the years, Tuttle was credited with painting scenery for a variety of performance venues, including: the La Crosse Theatre (La Crosse, Wisconsin), Grand Opera House (Oshkosh, WI), Normal School (Oshkosh, Wisconsin) Opera House (Sheboygan, Wisconsin), Opera House (Portage, Wisconsin), Davidson Theatre (Milwaukee, Wisconsin), the Illinois Theatre (Rock Island, IL), Calumet Theatre (Calumet, MI), Stone’s Theatre (Flint, MI), Turner Opera House (Green Bay, Wisconsin), Odeon Theatre (Marshalltown, Iowa), Opera House (Muscatine, Iowa), Greene’s Opera House (Cedar Rapids, Iowa), Music Hall (Kansas City, Missouri), Opera House (Winona, Minnesota), and the Moline Theatre (Moline, Illinois).
On July 27, 1897, the “Northwestern” newspaper in Oshkosh, Wisconsin, reported, “Howard Tuttle of Davidson Theatre, Milwaukee, working at Oshkosh. The new scene is from the brush of Howard Tuttle, scenic artist, Davidson Theatre, Milwaukee, and will be a masterpiece when completed. Mr. Tuttle is the artist who painted the new scenery for the Normal school and the opera house curtain will be somewhat similar to the one at Normal, only on a larger scale” (page 2). By October 3, 1905, the “Rock Island Argus Report” noted that Tuttle was a scenic artist for the Chamberlain-Kindt circuit.” His reputation continued to increase throughout the country. On July 17, 1909, the “Burlington Hawk-Eye” published a lengthy article about Tuttle entitled “Artist Works Aloft” (page 7). Keep in mind that it was quite a compliment when a newspaper fully described the studio and process of one particular artist. I am including this particular article in its entirety, as it presents a wonderful snapshot of Tuttle at work in 1909.
The article reported, “High up in the air, fifty feet above the stage of the Grand Opera House, is working quietly every day one of the most famous scenic artists in the country – Howard Tuttle, who has probably a wider acquaintance among stage folk than any other man in the profession.
It would baffle the man who is unfamiliar with the strange surroundings back of the big proscenium arch to find his way up on the long, narrow paint bridge where the artist works alone, far from every sound, and just under the roof of the stage. Through the labyrinth of scenery stacked on the floor the explorer wends a tortuous course. Tacks are frequent to avoid butting into the sharp corners of the big sets, and the stranger in a strange land keeps his eyes open, scanning the floor in the semi-darkness to save himself falling into one of the mysterious traps that are part of the stage equipment. Taking a course north, by northwest, the newspaper man is guided by Fred Croft, the property man of the theater, to the flight of winding stairs that lead aloft. There are as many crooks and turns in the stairs as there are in a Boston street. After plunging and groping for what seems an interminable distance the first board landing is reached that parallels a row of dressing rooms. Up again goes the route, with more twists and turns, and the second landing is reached. It is lighter here and but a few steps away is the paint bridge, extending across the rear of the stage and built close to the back wall.
Far down is dimly seen the floor of the stage through a maze of drops and ropes. The bridge is narrow, but it is protected by a railing, and the place is unlikely any other spot that can be thought of.
Out in the center of the bridge the scenic artist is working. The big paint frames, holding the stretches of canvas, are operated by ropes and pulleys, allowing the artist to move the scene up or down at his will. A score of pans, containing colors of vivid hues, stretch along a shelf at the back of the painter. The scenic artist is working on a landscape, whose garishness bears little resemblance to the scene as it will appear when exposed to the view of an audience seated sixty feet away. Everything is laid on a broad manner. Great splotches of color are smeared onto the canvas to be spread with wide sweeping movements of the brush. The effect at close range is crude, but the artist is taking into account the fact that the scenery is viewed at long range by the audience, and the effect is then entirely different. Every proportion is right, and the whole beauty of the scene is unfolded in the same manner as is the smaller picture hanging on the wall of a gallery.
Mr. Tuttle has been in the business for almost fifty years, but he has retained the enthusiasm of youth and his smile and greeting are just a cheery as those of a boy. He has a son who is following in the steps of the father, and the artist laughed as he told of a letter received the other day from his boy, who is working at one of the large theaters of Chicago. It was brief. and after telling of his progress the lad wound up with these words: “I am succeeding famously and, father, some day you will be working for me.”
The artist paused between his stretches of painting to clean his brushes and talked of interesting incidents of stageland and the players connected with the mysterious region behind the footlights. He has met and known intimately all of the stars of the past and present, and through this acquaintance has amassed a fund of stories.
Mr. Tuttle’s story of the discomfiture of a noted dramatic critic is worth the telling. It happened years ago with Sarah Bernhardt, the great French actress, who was to open in one of the larger cities of the country in La Tosca. Mr. Tuttle was engaged at the time in painting in this same theatre, attended the opening night and by chance was shown to a seat next to the critic – the dean of his profession at that period. The scenic artist and the writer were intimate friends and as the curtain rose on the prologue, both awaited eagerly the advent of the famous player. Other dramatic writers were grouped down front and the theatre was packed to the very doors with fashionable assemblage. Something seemed to be lacking, however, in the performance and it was noticeable at the start that the audience was cold and indifferent. Even the entrance of the French woman, who was perhaps without peer at that time, failed to arouse the expected enthusiasm. The applause was lacking. Not a hand was given, and the curtain dropped at the end of the prologue on a silent house.
The same thing was repeated at the end of the first act, and again at the conclusion of the second and third acts.
The dramatic writer before the opening of the play had entered a discussion with his friend, the scenic artist, as to how the audience would receive the French players, holding that the lack of understanding of the foreign language on the part of the listeners would not be a bar to the appreciation of the wonderful acting of Madam Bernhardt and her support. “They will understand the art, the great intelligence of the players and will, therefore, quickly absorb the meaning of the story,” insisted the writer.
“Wait and we shall see, “returned the painter.
As the play dragged its weary length with no response from the audience the dramatic critic grew restive, and it was then that Mr. Tuttle sprang his great coup that started the man of the press.
“If this is really Bernhardt, the actress is worth $5,000 a week,” Tuttle whispered to his friend, “but if it is an understudy, she is worth but $100 a week.”
The writer looked in amazement at Tuttle and then a great light shown in his eyes. He leaned forward trembling, and said breathlessly: “Tell me what you know, for Heaven’s sake, man, do you mean that it isn’t?”
Tuttle smiled and the writer gripped his hand. “If I knew, this would be the greatest scoop of the day; you must know I will never betray you.” Just then the actress was in the midst of the greatest scene of the play. At the conclusion of her lines a pause followed with the stillness of death. Then a roar of applause burst forth that spread from row to row, the shouts of excited Frenchmen being heard above the tumult. The curtain descended and the painter started for the door, followed by the writer who hung to his coat. “Tell me what you know; I must have the truth,” implored the writer. “Don’t you see what it means?”
Tuttle turned a smiling face toward his friend and said”: “You will have to guess,” and disappeared in the crowd. The writer’s paper contained but a short review of the play that next morning, and those who saw it read, but could not understand.”
When Moses hired Tuttle in 1887, he was an ambitious young artist. At the time, Tuttle was twenty-eight years old, living in Chicago. He was married with two small children and a third on the way. Within five years, Tuttle moved to Milwaukee, Wisconsin, established a scenic studio, became a Socialist and entered Wisconsin politics. Tuttle was not just a Socialist, but a Socialist candidate in mayoral and gubernatorial elections. Tuttle’s passions were painting and politics. By 1910, he was even a featured speaker at the Labor Meeting in Waterloo, Iowa. On January 26, 1910, “The Courier” of Waterloo, Iowa, identified Tuttle as one of two speakers at the Labor Meeting held in Carpenter’s Hall, reporting, “Mr. Tuttle has some previous acquaintance with Waterloo people. He is an experienced scenic artist and did the inside work on the Waterloo Theatre. He has gained some political notoriety, having been a candidate for governor of Wisconsin three times on the Socialist ticket, without success, His address last night dealt with the boycott on corporations in general…he advised the working men to be on guard and prepare for a national election, when some progress might be made by the laboring classes toward gaining control of monopolies, which he declared were responsible for the present high prices of everything”.
On April 21, 1910, Tuttle was interviewed in an article in the “Oshkosh Northwestern,” entitled, “Socialism is Coming.” It is unusual to locate the political ideologies of scenic artists beyond a simple entry in voter registration lists. The “Oshkosh Northwestern” article paints a detailed picture of Tuttle’s political views. Here is the article in its entirety:
“Howard Tuttle, the famous scenic artist and expert authority on the matter of interior theatre arrangement and design, was interviewed today by a Northwestern’ reported and he talked on the subjects of Milwaukee’s new administration; Social Democracy in general; running for office; “Appeal to Reason;” theatre decoration and various other topics. To those who enjoy Mr. Tuttle’s friendship, whatever he says is of interest. He is a man of great sincerity. His present business in Oshkosh is to go over preliminary plans with Manager J. E. Williams of the Grand Opera House for the extensive remodeling of the interior of that playhouse. Mr. Tuttle’s home and studio are at Milwaukee, but he is engaged in many of the leading cities of the country. “Milwaukee is going to get along all right,”: Mr. Tuttle said as he laughed in response to the query. “Don’t worry about that. Everything will be done for the best of this city. No, I didn’t see the headlines in Chicago papers yesterday, but I am not surprised that Chicago is interested. They will all take notice of Milwaukee. SOCIALISM TO SPREAD“ Was I surprised at the election results? Why no. I knew that socialism was to win. And its victories are not to be confined. We’re going to spread out and gain a voice in the administration of the great American cities. We’re growing stronger here in the Fox River valley, and the time is not far off when socialism will be a direct power in Oshkosh and neighboring cities. There’s nothing to fear. Milwaukee will prove that that. “And in Chicago, in that great American city we are pushing upward, and we will soon take hold of affairs there, and God, how Chicago needs it!” continued the pioneer artist, feelingly. Twelve years ago, Mr. Tuttle became a believer in the doctrines of so-called socialism. As he has confided to his friends, his business suffered for his faith. In his own words: “When it was known that I had become a socialist, business was withheld from me. I was punished by the interests in many ways. I had to fight to live, where once I had given so much. But it is always the way. When man takes up a principal against which so many are prejudiced, he must be prepared to sacrifice much. During several of the earlier campaigns of socialism, Mr. Tuttle was put up as the candidate for mayor of Milwaukee and for governor of the states. “We were beaten at first,” he says, “but socialism was bound to win, as it has so splendidly done in Milwaukee.” WORKER’S GET NOTHING The Appeal to Reason was lauded by Mr. Tuttle. “That,” he said is the biggest little paper in America. It cost the paper $20,000 to defend itself against rascally brought to oppose it. Let me tell you, Fred Warren, the editor, was sentenced to jail for six months on a lot of trumped-up charges, and the high officials have tried hard to keep the paper out of the mails. But they could not do this. “The paper charged Theodore Roosevelt with taking part in the ‘Alton steal,’ along with Harriman, and it drove Roosevelt out of the country. It went after the supreme court, and it drove Judge Grosscup out of the country – to Africa also. Judge Grosscup – he is the man who set aside that $29,000 fine on Standard Oil company. The Socialist paper charged that Grosscup was a rascal, and he could not face the charges. Socialism is not afraid to tell the truth. When they begin to try and down the Socialist paper it had less than 300,000 circulation, and now has over 400,000. The paper is printed at Girard, Kan. It has made a first-class post office of a country in a post office there. “And the Girard postmaster, who is a figurehead, so to speak, draws a salary to which he is entitled. The real workers get nothing for building up Girard. But, do you know, it’s always that way, and we can’t avoid it. Figureheads get everything, but the actual workers get little or nothing. NO FEAR OF LAWS “Trusts don’t give a damn for laws. If they need a law, they make it. Some of the judges don’t have the slightest show if they don’t do what is wanted by those who put them where they are. Sometimes I have heard it said, ‘It’s a wonder some of our big looters and grafters haven’t stolen the White house.’ “What made the Socialists succeed in Milwaukee? The hard work of a half dozen men. A half dozen or so started the party there twelve years ago, and they shape its destinies. The Socialists are ruled by a central committee, which meets regularly. When an alderman is elected by the Socialists, he does not become independent immediately after election like a Republican or Democratic alderman. On the other hand, he is directed by the central committee to do thus or thus for public good. Refusing, he is read out by the party. That fate fell to Mayor Born of Sheboygan, who tried to play politics with Republicans and Democrats. the Socialists dropped him. “ the Milwaukeean said. “The spread of Socialism has started the corporations to consider the commission form of government. They offer that to placate the Socialists. And Mr. Tuttle went on to tell in what manner commission government is opposed to the ideals of democracy which were put into effect when the colonists in 1776 threw off the government’s kings and commissioners. Commission government would make it impossible for a young party, like the Socialists, to do anything, he said. It makes for one big political despot, he asserted. “And back of a big political power,” he said,” you will always find an industrial despot.”
Until his passing in 1925, Tuttle continued to work as a scenic artist, but his work received far less coverage. One of his last projects described in any detail was for the Wisconsin Products Exposition in 1923. He painted a panorama to encircle the main arena and exhibit space, measuring 25-feet high by 300-feet long.
Tuttle was found dead by a gunshot to the head, and his death was determined as suicide. Obituary notices were brief, with newspapers suggesting either prolonged illness or insomnia as the cause. Six months before his passing, Tuttle and his daughter had also survived a horrific car crash.
His brief obituary appeared in papers across the country on October 5, 1925. “The Sheboygan Press” reported “Scenic Artist of Repute Ends His Life Today. Milwaukee.- Howard Tuttle, 62, prominently known throughout the United States shot and killed himself in his apartment here today. According to the Coroner Tuttle had been ill for some time. He is survived by a son, Morris and daughter, Hazel, and both are scenic artists.”
To be continued…
