Travels of a Scenic Artist and Scholar: Lies and Misrepresentation Behind the Curtain, March 22, 2024.

Copyright © 2024 by Wendy Waszut-Barrett

As promised, here is my powerpoint for “Lies and Misrepresentation Behind the Curtain.” This session was sponsored by the Scene Design and Technology Commission for the United States Institute for Theatre Technology’s annual conference in Seattle, Washington.

USITT PRESENTATION (March 22, 2024):

Welcome to “Lies and Misrepresentation Behind the Curtain.” I am Wendy Waszut-Barrett and this is my colleague Ruben Arana.

Before we begin…

This session is divided into two sections. For the first 20 minutes, I will provide historic context and discuss women scenic artists. There will be a 10-minute break to answer questions. Then I will turn it over to Ruben Arana for the second half.

My quest for women scenic artists began in the 1989. In the midst, of learning about theatre history and scene painting techniques, I inquired about the nineteenth-century women scenic artists and  was told, “They were all boys, get over it.”

Although our profession is more about what we can do, rather than who we are; this statement made me feel like I was not part of scenic art history. So, I threw myself into learning everything I could about historic scenic art, the people and process.  

Who knew that I would discover the name of a woman scenic artist while indexing the diary and scrap book of Thomas Gibbs Moses, a scenic artist whose career spanned from 1873-1934.  The project was assigned to me by Lance Brockman, now Professor Emertitis at the University of Minnesota.

My main task was to print up all the pages (feeding quarter after quarter into a microfilm machine), summarize the content of each page, and then create both subject and author indexes.

One of the articles in Moses’ scrap book mentioned “Little Theresa Sparks,” a scenic artist who was employed at a Chicago studio.

You can imagine my delight when I brought this to Lance’s attention. This began the a debate about when women actually entered the field of scenic art.  

I tracked down the life and career of Theresa Sparks, posting her story to my blog  drypigment.net  in 2020. I knew by the 1920s, there was a growing workforce of women scenic artists gaining attention in various publications.

In fact, a 1927 article in The Scenic Artist mentioned the work of twelve women scenic artists, including Lillian Gaertner, Gretl Urbahn, and Vyvyan Donner.

The article included a very subjective analysis, stating:

For many years women felt themselves barred from taking a part in the painting of scenery, because it involved extreme physical stamina, which, excepting in rare cases, women do not possess.  However, being more or less tenacious, it is a foregone conclusion that women will work out their own salvation, and this will perhaps lie in the line of designing or art directing, rather than the actual painting of scenes.”

And thus continued the myth that women scenic artists were few and far between, having not really contributed before the 1920s.

Here are a few names women scenic artists who worked between the 1860s and 1940s. These were women who painted stage settings and were listed as such in census reports, city directories, and newspaper accounts.

I believe historians try their best to represent the world as it was.  However, at some point, the contributions of generations of American theatre artists were left out of theatre history. Aesthetic shifts, new design movements, and innovative technology continue to be credited to a select few.

There is a popular image of twenty-four scenic artists who were early officers and charter members for the Protective Alliance of Scene Painters in America.

This group has been constantly referred to as “the foremost scenic artists and designers” in America at the time. That is simply not the case. There is no doubt that each was a skilled and a relatively successful scenic artist, but this group does not comprise the best that America had to offer at the time. They only represent a small number of scenic artists working in a few specific regions. The picture is very telling, especially when you start realize those nationally-renowned scenic artists missing from the picture.

For me, these men represent those who had the most to lose without establishing a protective alliance and keeping OTHER scenic artists out.

I say this having carefully tracked the lives and careers of these gentlemen, including the Thomas G. Moses.

It was not until 1918 that women were allowed to join the Union. Mabel A. Buell’s late entry makes it appear that women were just beginning to enter the scenic art field.

It’s important to understand that when Mabel joined the Union, she was not only a scenic artist, but also a scenic studio owner. Both she and her mother worked as scenic artists, as did her father and brother. In many cases, it was a family affair.

By the way, this is Mable directing her employees. At times her staff numbered twenty people.

When Mabel joined the Union, she was described as the “only girl in the profession.” Buell continued to be listed as such in the early 1920s.

By this time GENERATIONS of women had worked as scenic artists. Some were wives, some were daughters, some were sisters, and some entered the profession all on their own.

The use of “ONLY” to describe a female scenic artist in newspapers, sends an underlying message – they are not a threat. After all, there is only one. 

Here are examples of three women scenic artists identified as the “Only” in America over the course of two decades; On the left is Grace Wishaar (pronounced Wee-shar), listed as the only woman theatrical scene painter by 1901. On the right is Irene Kendrick, listed as the FIRST woman scene painter in 1909. In the center is Mable Buell – pictured in the 1921.

I am going to focus on Seattle Scenic artist – Grace Norton Wishaar- she is pictures on the left.

Born in 1876, she worked at both the Cordray Theatre and the Seattle Theatre in the early 1890s.  An accomplished pianist, singer, and chess player, she was the eldest of 6 children born to Emile Bernard and Marie Ida Smith. When Grace was ten years old, she sailed with her family from New York to California.

Her career as an artist began at the San José Art School, with her first drawing instructor being Lee Lash. Lash was eight years older than Grace, and moved to New York where he established a scenic studio. Ironically, when Grace moved to New York looking for work, Lash turned her down, explaining:  “scene painting was no work for a woman; her sex would make her unwelcome among the workmen’ and that women were too ‘finicky’ for work that demands broad effects.”

In 1894, The Washington Standard reported, “Seattle has a young lady scene painter in Miss Grace Wishaar. A new drop curtain at Cordray’s, which is universally admired, is from her brush.”

Grace had painted scenery for almost two years by this point.

In fact, the same year that Grace entered the scenic art profession, Sosman & Landis sent Thomas G. Moses to Seattle for several months to deliver a massive stock scenery collection. The studio frequently hired local artists to help with on-site work.

In 1901 Grace described her early career in an interview with a Buffalo Express reporter. She said:

“It was like this, I left school out in Seattle and went into society. But my sister cared for music, and I cared for art, and we tired of other things and decided to study. She began training her voice for grand opera. I fitted up a studio – a beautiful room it was, 80 feet long, in the Seattle business block – I kept at portrait work. My mother writes – she lately copyrighted a play on the Philippine war – so she understood how we felt. Then one day the Seattle Theater needed a drop. My father, E. B. Wishaar, is dramatic editor of the Post-Intelligence -sir. He heard about it and mentioned it to me. I thought I could do the drop. Mr. Russell – the manager – laughed at me, but he let me try it. I painted the scene and they said it was just what they wanted. After that, I had all I could do for the Seattle and Cordray theaters and for two years I worked as a professional…”

In the midst of all of this, Grace married her first husband in 1897, celebrated the birth of a son in 1898, and continued her artistic training at the William M. Chase School of Art – moving east in 1900.

When Grace headed to New York in search of scenic work at the beginning of 1901 -it was scenic studio owner D. Frank Dodge who provided an opportunity. Soon, she was painting for him at the Fifth Avenue Theatre, Manhattan Theatre, and Herald Square Theatre.

During the next few years, Grace became Dodge’s right-hand person – meeting with newspapers and explaining both the design and painting process. She continued with Dodge until 1904 when he sent to a project in Seattle. She remained there, painting at theaters in Portland, Seattle, Tacoma, San Francisco, and Oakland. While working for Dodge she married her second husband.

When Grace returned to the West Coast, she worked with Seattle scenic artist, Sheridan L. Jenkins. Photographs of the two working together in 1905 are priceless.

Sheridan was originally from Fairbury, Nebraska. He moved to Seattle by the late 1880s and began working as a scenic artist. In 1892 when, about the time Grace entered the profession, he moved to Chicago, working with Thomas G. Moses’ former business partner, Walter Burridge.

Here is another photograph of Grace and Sheridan on the paint bridge. From a quality standpoint, these are some of the best scenic art process photographs that I have ever encountered.

Here is another of the two in Grace’s studio. We are able to see – in detail – so many of her designs and models.

All of their stage scenery was painted with distemper paint, the mixture of pigment paste with diluted hide glue. By the way, I have solely used distemper paint for the last seven shows I that designed and painted for Haymarket Opera Company (Chicago) and the Gilbert & Sullivan Very Light Opera Company (Minneapolis). It reflects light so much better than any premixed product in a can. In 1903, Grace explained “Distemper is a really beautiful medium. You can produce such fine effects with it! But it’s very tricky unless you know JUST how to handle it.”

In 1904, Harry W. Bishop hired Grace as his scenic artist for Ye Liberty Playhouse in Oakland, California. The theater’s studio measured 100 by 35 feet, and included a machine shop and three paint frames. One frame was movable, and the other two were stationary with adjustable bridges. It was a remarkable stage, with a 75-foot revolve – purportedly the first in the west. Grace was working at a state-of-the-art theater.

Her scenic art at Ye Liberty immediately made the news and was described as “one of the strong points of the theater.” Grace’s gender was looked upon as an asset. On Jan. 12, 1905, The Berkley Gazette reported, “The Liberty is particularly fortunate in this [meaning her being female], for that is the secret of the delicate touches, artistic settings and finished details always present at their performances.” 

In 1907,  another article about Grace announced, “Ye Liberty’s Scene Painted, the only woman in the world of the profession – does amount of work which men scene painters find impossible to do.” Remember that two decades later, the 1927 article in The Scenic Artist reported, “For many years women felt themselves barred from taking a part in the painting of scenery because it involved extreme physical stamina.”

Progress made by one generation of women, can instantaneously evaporate with the next.

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Wishaar’s scenery for Barbara Freitchie at Ye Liberty Playhouse was regarded “as proof of Miss Grace Wishaar’s uniformly good scene painting.” Here is an image of her Frederick Street setting for the show.

While working for Bishop, three major disasters struck:  earthquake, divorce, and fire. In 1906, an earthquake damaged Ye Liberty Playhouse. This was the same year that she married her third husband. The next year, Grace filed for divorce, citing desertion.

In 1909, Grace and her family narrowly escaped a house fire. Evidence suggested that a faulty grate was to blame, but the fire destroyed everything, including her prized collection of paintings.  This was a turning point for Grace. She collapsed at work. Her doctor advised a “rest cure.” This was the medical order for “go on a world tour.”

Enter Marian Smith Oliver, former ward of multimillionaire F. M. Smith, also known as the Borax King. In 1910, Grace and Marian journeyed around the world, ending up in Paris where Grace  set up a studio and Marian be­­gan ­­­­­performing. Scandal ensued, with Marian returning home to her husband. Their marriage did not last. In 1912 Seattle newspapers reported that Grace was in the midst of a three-years art course in Paris and “At present she is on a summer sketching tour through Spain and Italy.” She participated in several art exhibitions, and in 1914 exhibited three portraits at the Salon des Beaux Arts.

Grace had played chess since a child and used it to relax during paint breaks at the theater. In Paris, Grace began competing in chess tournaments. In 1931, she won the French Woman’s Championship, the same year that her fifth husband completed suicide in Ceylon (Sri Lanka).

Grace’s sixth and final marriage was to world-chess champion, Alexander Alekhine (1892-1946). She was playing one of the boards in his simultaneous blindfold chess game. They were in  Tokyo. They married the next year.  Sixteen years her junior, Alekhine was a notorious alcoholic, The two traveled, played chess, and won awards, yet she continued to paint and maintain a studio in Paris.

When Grace passed away in 1956, she was buried next to her husband. Their gravestone even includes a chess board at its base. There is much, much, more to this story that is posted to www.drypigment.net.

The chess world has recently become fascinated with Grace Wishaar. Last year, Alan McGowan, historian at Chess Scotland, contacted me about my posts concerning her early life and painting career. In January 2024, McGowan published his article, “Amazing Grace,” for the English periodical Chess.

Grace left a treasure trove of photographs, newspaper articles and other historic records, yet, she still faded from theatre history by the 1920s. There are still hundreds who remain nameless; their contributions to the development of theatre history have yet to be counted.

Over the past few years, I have identified dozens of women scenic artists while writing the 120 biographies of Soman & Landis studios, including Grace Wishaar. This research is for my upcoming book Sosman & Landis: Shaping the Landscape of American Theatre. The Sosman & Landis staff was quite diverse, including women, African-Americans, and immigrants.

Which brings me to Lara Levero. She represents the thousands who did not make headlines, appearing as a brief spark at a particular moment. In 1920, Levero was counted in the US Federal Census, living in Los Angeles and working as a scenery painter. She listed her birthplace as Mexico and Spanish for her “mother tongue.” Levero emigrated in 1918 and was currently living with fellow scenery painter Felix Garcia.

I have managed to track the scenic art career of Felix Garcia, who settled in El Paso, Texas, and was listed in city directories by 1922. At this time, I have yet to determine if the two married, or went their separate ways. It is so very difficult to trace the lives and careers of women, especially after they marry.

Today, online databases provide massive amounts of information. We are now able to identify thousands of individuals whose contributions to theatre history were either forgotten or ignored. 

Although women scenic artists are not currently included in the history books, they were present and contributed to our industry.

WE can no longer solely teach theatre history from the same books that have been used for generations of students. Teachers cannot teach what they do not learn.

WE are completely in control when choosing the lens through which we depict our industry’s past, present, and future of our industry.

Travels of a Scenic Artists and Scholar. USITT Seattle, March 20-23, 2024.

The United States Institute for Theatre Technology is a membership organization, established in 1960 to advance both knowledge and skills in the areas of design, technology, and production. There are several commissions within USITT that focus on specific areas of the industry, such as scene design and technology, costumes, lighting, sound design, education, engineering, and management. Each commission meets at the annual conference to propose sessions and workshops for the next year. The Scene Design and Technology Commission includes scenic art, properties, safety and health, heritage and more.

A few years back, I was appointed Vice-Commissioner of Heritage in the Scene Design Commission, replacing Arden Weaver when he stepped down from the position.

The 2024 conference is in Seattle, Washington (March 20-23). I am one of two presenters for Lies and Misrepresentation Behind the Curtain, a 60-minute session sponsored by the Scene Design and Technology Commission.

Our session is in room 608 at the Seattle Convention Center on Friday, March 22, 2024 (10:00 AM – 11:00 AM). My co-presenter is Ruben Arana of Florida A&M University. We proposed this session last year after meeting meeting for the first time; sitting next to one another at the the Commission meeting.

Our session looks at the history of underrepresented people of color and women in the 19th and early 20th century, sharing the stories of four specific individuals. If you are attending the conference this year, please consider joining us!

For more information about the United States Institute for Theatre Technology, visit www.usitt.org

Travels of a Scenic Artist and Scholar: Scenery Preservation Workshop at the Theatre Museum of Repertoire Americana, June 4-5, 2024

Historic Stage Services, LLC, has partnered with the Theatre Museum of Repertoire Americana to offer scenery preservation workshops!

Here is the link for registration: http://thetheatremuseum.com/event/2-day-preservation-treatment-workshop

Travels of a Scenic Artist and Scholar: Hugh Lanning’s Advertising Curtain at the Theatre Museum of Repertoire Americana.

Copyright © 2024 by Wendy Waszut-Barrett

In 1905, Hugh Lanning painted an advertising curtain and stock scenery for the Blakesburg Opera House. Donated by Mr. and Mrs. Edward Fritz of Blakesburg, Iowa, it is currently on display at the Theatre Museum of Repertoire Americana.

1905 Ad drop by Hugh Lanning on display the Theatre Museum of Repertoire Americana. The top and side of the drop are folded over, so you cannot see the entire composition.

Painted detail from 1905 Hugh Lanning Ad Drop.

Painted detail from 1905 Hugh Lanning Ad Drop.

Painted detail from 1905 Hugh Lanning Ad Drop.

Painted detail from 1905 Hugh Lanning Ad Drop.

Painted detail from 1905 Hugh Lanning Ad Drop.

Lanning exemplifies the skilled scenic artist who diversified his work and never strayed far from home. He was born, raised, and died in Wapello County, Iowa.

Map showing Wapello County in relation to Omaha, Chicago, and Kansas City.

Map of Wapello County. Note that Blakesburg is on the western border.

By the way, if you want to learn more about the area, here is a link to the “History of Wapello County, “published in 1878. Here is the link: https://tile.loc.gov/storage-services/public/gdcmassbookdig/historyofwapello00west/historyofwapello00west.pdf

For a brief time, Lanning was the area’s leading landscape and sign painter, dabbling in a variety of other artistic endeavors that included scene painting, side-show banners, and the decoration of mechanical equipment.

Suffering from a series of hardships, Lanning left only a modest legacy. It is remarkable that any of his artworks survive. Like many Midwestern artists, Lanning’s contributions quickly faded from theatre history.

It is only fitting that Lanning’s work is now on display at the Theatre Museum. He represents the thousands of scenic artists who never moved to a large city, rubbed elbows with theatrical elites, or made the “big time.” It certainly wasn’t because he lacked skills or ambition. In fact, Lanning reminds me of some advice passed down on my mom’s side of the family. Growing up, I was repeatedly told, “There are at least 10,000 people as talented as you; they just didn’t have the same opportunities.”  Over the years, this helped place my own work and life in perspective, making me appreciate those who contributed to theatre history, yet were never counted. Maybe that is why I am trying so hard to tell the stories of those who shaped the world of scenic art but are long forgotten.

Lanning leaves a legacy that encapsulates the careers of many rural scenic artists in the Midwestern United States. Those who gave so much to local communities and left life with very little fanfare.

Surprisingly, 43 years after Lanning’s passing, his advertising curtain was displayed at the Kennedy Center during a bicentennial exposition that celebrated two-hundred years of performing arts in America. In 1975, the Theatre Museum of Repertoire Americana loaned Lanning’s ad drop to be part of “America on Stage: 200 Years of the Performing Arts.” The year-long exhibition was free and open to the public every day from morning to night. Located on the Kennedy Center’s roof-terrace level, scenery, costumes, props, and other memorabilia were placed on display, borrowed from individuals and institutions all over the country. The primary focus of the exhibit was the evolution of American drama, music and dance from colonial times until the 1970s. If anyone attended this event and has documents to share, I would love to include them in this post.

The Kennedy Center exhibition was described by a visitor the “This ‘N That” section of The Bayard News. On March 25, 1976, an article reported, “Visited the bicentennial exhibit on the top floor of the Kennedy Center. Had heard it plugged on IEBN by Helen Hays. It is a review of entertainment in America. There was a Chautauqua tent in which you could see films on various subjects. There was a café-type setting with a Wurlitzer juke box. Hated to leave there for the juke box had records of my era…In a section devoted to traveling tent show, the famous Toby shows of the Schaeffers were prominent. The original family were great friends of Grace and Ralph Chapman and I’ve heard them talk about them…One wall displayed a very large stage curtain, it was full of ads advertising businesses in Ottumwa. Remember those things, painted in the most brazen colors, you could study them until the curtain was raised for the big show” (p. 2). They were describing Lanning’s ad drop.  In many ways, he represents the 99% of scenic artists who never gained national reputations.

Here is the story of Hugh I. Lanning (1853-1933), Stage and Side Show Painter of Ottumwa, Iowa.

Signature on Blakesburg Opera House Ad Drop.

Signature and date on Blakesburg Opera House.

Lanning’s family tree is bit complicated due to his father’s multiple marriages and offspring. So many young women died in childbirth in the mid-nineteenth century, leaving grieving husbands with small children.

Hugh Lanning was the one of two children born to David Cornelius Lanning (1826-1907) and Nancy Connelly (1831-1862). Nancy was David’s second wife. The couple was married on Sept. 4, 1850, in Wapello County, Iowa. This was almost three years after the passing of David’s first wife, Amelia Ann O’Neil Lanning (1820-1847). David’s first marriage took place in Ripley, Illinois, on Sept. 12, 1844.

The 1850 Census report listed David and his second wife, Nancy, living with two children from David’s first marriage: Sarah Agnes Lanning (1845-1927) and David Columbus Lanning (1847-1913).  That year, the Lanning family lived in Ripley, Brown County, Illinois. Interestingly, Nancy was counted twice in the census. She was also listed as part of her parents’ home in Wapello County, Iowa (Hugh & Martha Connelly).

Hugh Lanning was born on April 27, 1853, in Agency Township, Iowa, with his birth registered in Wapello County. Lanning’s younger sister, Mary Alice Lanning was born the following year.

The 1856 Iowa State Census listed the Lanning family living approximately ten miles southeast of Ottumwa, still in Agency Township. The Lanning household included David, Nancy, Sarah A., Hugh, and Martha. In both the 1850 and 1856 census reports, David Lanning was listed as a cooper.

I was surprised to see that David Jr. was not listed as part of the household. It is possible, that he had already been “hired out”; such was the case with my maternal grandfather at the turn-of-the-twentieth century. As soon as a child was old enough to work, they were hired out to another family with their subsequent “wages” sent home. This is basically leasing a child.

The Lanning family began to financially fail by the late 1850s. On Dec. 8, 1859, David Lanning was listed in the Ottumwa Semi-Weekly Courier as delinquent in his taxes for three lots in Agency City (p. 2).

I have yet to locate any listing for the Lanning family in the 1860 US Federal Census. However, David and Nancy Lanning celebrated the birth of their third child that year. Emma J. Lanning was born in Ohio.  I am uncertain as to whether the Lannings temporarily relocated to Ohio, or were visiting when Emma was born. When Nancy Lanning passed away on Feb. 20, 1862, however, the Lannings were again living in Wapello County.

David remarried his third wife, Harriett Elizabeth Criswell/Creswell (1842-1872) on December 3, 1862. The couple celebrated the birth of Mary Ella Lanning (1863-1920), James Lanning (1865-1921), and William Robert Lanning (1869-1918).

I have yet to track down the Lanning family in the 1860 Census, however, David and Harriet celebrated the birth of Emma J. Lanning in Ohio that year. The Lanning family may have temporarily moved back east. They were back in Iowa by the onset of the Civil War. In 1862, David Lanning was listed as a person subject to military duty in Iowa Records. I have yet to uncover anything about the Lanning family’s activities during the remainder of the 1860s, however, the were still in Wapello county in 1870.  

The 1870 US Federal Census listed the Lanning family living in Center Township, Wapello County, Iowa. In 1878, David Lanning was listed as a farmer in “History of Wapello County. He owned Sec. 27 in Agency Township.” James Lanning, also listed as a farmer in 1878, owned Sec. 30 in Agency Township. That year, B. F. Watson was listed as a local painter. It is possible that Lanning apprenticed with Watson. At 38 yrs. old, David Lanning was now employed as a carpenter, with 17-yrs.-old Hugh listed as a laborer. Other members of the Lanning household in 1870 included Hugh’s step-mother Harriet (27 yrs.), Emma J. (10 yrs.), Mary E. (7 yrs.), James (4 yrs.), and Willie (1 yr.). By this time, Lanning’s two oldest children had already married. Sarah A. Lanning was living in Macon, Illinois with her husband, Joseph Fry, and 2-yrs.-old daughter, Elda. David Lanning Jr. was also living in Illinois, recently married to Eliza Mryess.

It is a complicated genealogy, with David Lanning purportedly marrying two more times after the passing of his third wife; L. C. Royce on Dec. 29, 1880, and Sarah Wertz on July 15, 1886. Both marriages were in Wapello County.

I have yet to identify when Hugh Lanning began his work as a painter or attempted his first theatrical project. The 1870s were certainly a decade a transition as he left his parents home, married and celebrated the birth of his first child. Hugh married Josephine “Josie” Rush (b. 1855) in Brown, Illinois, in 1876. Over the years, the couple celebrated the birth of three children:

Hugh Antonio “Tony” Lanning (1877-1947)

David Nelson Lanning (1881-1958)

Fanchon Lanning (1886-1968)

In 1878, their home was destroyed by a tornado. At the time, the Lanning family was living northeast of Ottumwa in Dahlonega township. This community had formerly been known as Shellbark. In 1856 the town boasted three hundred residents, with two packing houses, schoolhouse, public hall, and numerous businesses.

On June 6, 1878, the Buffalo Courier Express described a tornado’s deadly path that destroyed Lanning’s home:

”Still Another. A Destructive Tornado in Iowa the Day After One in Missouri.

Ottumwa, Iowa, June 3, – A terrible tornado took place here on yesterday, about 4 o’clock P. M., originating about two miles north of the city, striking city limits on the north and northeast, and thence passing in a southeasterly direction between Eldon and Batavia, avoiding Agency City…Thence the storm passed to the frame house of Hugh Lanning, a painter, one mile and a half further on. Mr. Lanning and his wife were not in the house and thus saved their lives, as their house, a frame cottage, was torn to pieces, scattering their earthly possessions, and carrying pieces of the timber and small pieces of the furniture ten miles beyond…”

On June 6, 1878, The Oskaloosa Herald reported, “The residence of Hugh Lanning was picked up from the foundation turned around three or four times and crushed like an eggshell on the ground, Of the contents of the house only three or four chairs have been found unbroken. No one luckily was at home” (p. 3).

Lanning remained in the area, but the process of rebuilding one’s home meant that Lanning did not stray far from the area. The 1880 US Federal Census still listing the Lanning home in Dahlonega with Hugh working as a painter.  His employment as a scenic artist did not make news until 1882 when he painted some circus banners.  On Aug. 6, 1882, the Ottumwa Weekly Courier announced, “Hugh Lanning has some fine specimens of scene painting in his shop, nearly completed, for Batcheller & Doris’ show. The painting is first class, and a decided credit to Mr. Lanning” (p. 4).  That year, Batcheller & Doris were travelling with their “Great Inter-Ocean Show.” On Aug. 16, 1882, The Columbus Journal (Nebraska) reported, “Batcheller & Doric have, without question, the finest circus that ever visited Burlington, and have more real attractions than any other circus on the road; chief among which is Millie Christian, the two0headed girl, who can truthfully be called the eighth wonder of then world” (p. 3). That summer, Batcheller & Doris’ show included several stops in Iowa, also making news upriver in Oskaloosa.

https://www.searchablemuseum.com/the-life-and-travels-of-millie-christine-mccoy

The show was also advertised as Batcheller & Doris’ Mammoth Aggregation. On August 11, 1882, Nebraska’s Lincoln Journal Star described, “Batcheller & Doris’ Mammoth Aggregation is in reality the combination of a half dozen shows…there is no circus now in the world that presents such varied and first-class ring performance, every artist being bright and particular star in his or her line of business, and commanding salaries that twenty years ago would have been deemed fabulous” (p. 2). 1882 feature acts included: Mlle. Rosina Dubsky, the Hungarian equestrienne; Miss Lizzie Keyes, the American rider; Aberlando Dowanda, the Brazillian equestrian; Willie Shanles, champion hurdle rider; the three Russian Athletes, acrobatics; Milo Brothers, gymnasts; Mlle. Eltre, contortionist; Mlle. Adele, trapeze artist; Prince Salsuma, balancing act; and Prof. Parker, dog act. The circus traveled all over the country between 1881 and 1882. On Jun 5, 1882, The Times of Streator, Illinois, reported, “There are 260 persons on the payroll of the Batcheller & Doris Co.” (p. 4).

Lanning continued to pick up a variety of work. He also became known for his easel art. That fall, Lanning exhibited some of his artworks at the 1882 Agricultural Fair in Agency City. The fairgrounds were within one block of the depot. Lanning was one of the listed attractions.  On Oct. 4, 1882, the Ottumwa Weekly Courier announced, “Hugh Lanning has staked his tent, in which he has a fine art museum, exhibiting many fine specimens of the art of painting, of which Mr. Lanning is one of the most proficient in this country” (p. 4). On Oct. 5, 1882, the Ottumwa Daily Democrat announced, “Hugh Lanning has an art gallery that is really worth going to see, and when you are down there go and see his pictures. There is much to admire and nothing to offend” (p. 4).

Lanning’s work extended to panorama exhibits for local events that included a Turner’s Fair. On Jan. 21, 1885, the Ottumwa Daily Democrat announced, “One of the attractions of the evening was the panorama which Mr. Hugh Lanning had kindly put in position for the occasion. His Punch and Judy performance also furnished an unlimited amount of merriment for the many children present” (p. 3).

Tragically, Lannings sister at this same time, with news reaching Ottumwans on Jan. 28. The Ottumwa Daily Democrat announced, “Miss Mattie Lanning, now Mrs. Lee Traul, dies of consumption on Jan. 20 in Macon, Illinois” (p. 3). This was Martha Alice Lanning, Hugh’s younger sister.

By the end of the 1880s, Hugh Lanning moved his family to Ottumwa where he established a scenic studio on the south side of town. His two sons would follow in his footsteps, working at his shop. On 20 Jun 1888, the Ottumwa Weekly Democrat reported, “During a visit to the South Side yesterday a reporter called at the studio of the scenic artist Hugh Lanning, and found this favorite of Ottumwa art lovers hard at work on a number of landscape scenes ordered from different parts of the country, six of which go to Red Oak, and all gems of their kind. He also has on hand commenced an immense sign for the Golden Eagle clothing house which will be one of the finest signs in Iowa. Mr. Lanning is decidedly the finest scenic artist that ever came to our city and deserves to be liberally patronized” (p. 3)

The next year, Lanning’s artistic diversity was advertised in local news. On May 14, 1889, the Ottumwa Daily Democrat reported, “Hugh Lanning, the painter, does frescoing, sign painting, wood engraving. Scene-painting, etc. Mr. Lanning did the scene work in the Turner opera house, and there is no better artist in Iowa. We understand he will be a bidder for the scene work in the new opera house to be built in this city, and we trust he will secure the contract. If you want any painting done, give Mr. Lanning a call” (p. 3). Like many scenic artists at this time, the key to success was a willingness to paint whatever project came your way. In the case of Lanning, it was a combination of touring show scenery, local signage, residential decoration, and easel art. The wood engraving was unique, but not a surprise when considering his father’s carpentry work.

Lanning’s business was thriving at the turn-of-the-twentieth century. He was listed as one of many business owners involved with the Ottumwa Street Carnival in 1900 (Ottumwa Semi-Weekly Courier  23 Aug 1900, p. 4). By now, Lanning’s two sons were working alongside him, also employed as painters, and living at 907 Church Street. Hugh’s wife was also listed as a dressmaker in the 1901 Ottumwa Directory. The whole family seemed to be gainfully employed and succeeding.

As with many scenic artists at this time Lanning embraced new technology, investing in new forms of entertainment. He began with stereopticon shows, even touring nearby small towns with his act. On Jan. 2, 1902, the Ottumwa Semi Weekly Courier announced, “Hugh Lanning gave a stereopticon show at Bear Creek Monday” (p. 8). Lanning provided a similar entertainment for members of Ottumwa’s Carpenters Union, No, 767. On Jan. 14, 1902, the Ottumwa Daily Democrat reported, “The evening’s program was furnished by High Lanning and consisted of moving pictures and gramophone music, or unusual merit and much was appreciated by all” (p. 4). On March 19, 9102,the Ottumwa Daily Democrat reported, “Hugh Lanning gave an entertainment last evening at the Woodmen of the World hall, which was well attended. The entertainment was given under the auspices of the Northwestern Fraternal Reserve” (p. 4).  That spring, Lanning also took his entertainment on the road to. On March 26,1902, the Ottumwa Daily Democrat reported, “Hugh Lanning and the Stoops brothers left this morning for Moravia where they will give a moving picture and gramophone entertainment this evening. Before returning to Ottumwa they will give entertainments at Centerville, Mystic, Blakesburg and other points and expect to be gone about two weeks” (p. 4).

Just when the sky seemed the limit for Lanning, tragedy struck when Josie Lanning fell. She never fully recovered from the incident, and her health continued to decline. On May 6, 1903, the Ottumwa Daily Courier announced, “Mrs. Hugh Lanning is very ill at her home, 907 Church St.” On May 27, 1904, the Ottumwa Evening Democrat announced, “Mrs. Hugh Lanning is dangerously ill at her home on Church Street as the result of a fall she sustained some time ago” (p. 2). She passed away the next year. On June 17, 1905, Ottumwa Semi-Weekly Courier “Death of Mrs. Lanning. After a lingering illness, death came to Mrs. Josie Lanning, wife of Hugh Lanning, this morning at 12:20 o’clock at the family residence, 907 Church Street. The deceased is survived by her husband, two sons, H. A. Lanning and N. D. Lanning, and one daughter” (p. 4).

This was the same year that Hugh Lanning painted an advertising and stock scenery collection for the Blakesburg Opera House. In fact, Lanning was working at the Blakesburg Opera House when his daughter visited that fall. On Sept. 19, 1905, the Ottumwa Semi-Weekly Courier, announced, “Miss Fanchon Lanning, 907 Church Street, left on the Milwaukee this morning for Blakesburg, where she will visit her father Hugh Lanning” (p. 8).

For the next few years, Lanning drifted along, varying his work and seldom making news. It was as if his heart was no longer in the game.

On May 9, 1907, The Oskaloosa Herald reported, “Painting the Summer Cars.

The summer equipment of the Traction & Light Co. is being rapidly repainted and overhauled in every way. The work is being done by Hugh Lanning, an expert painter from Ottumwa, and some of his decorations on the cars, which are all hand work, are quite handsome. The cars will be put to use as soon as the work is completed” (p. 7). Lanning briefly relocated to Center, Iowa, where he worked as a sign painter. The 1910 US Federal Census listed that he was still living with his 23 yrs. old daughter that year. He returned to Ottumwa by 1912, where he was listed in the “Painters and Paperhangers” section of the City Directory, still working as a sign painter and now living at 524 Church.”

Over the next few years, Lanning’s named popped up here and there without much fanfare. One 1914 notice announced that he was selected was selected for jury duty. Another indicated his association with the Socialist party. The direction of Lanning’s painting projects during this time shifted toward residential decor. On Feb. 18, 1915, the Ottumwa Tri-Weekly Courier announced, “Hon. P. G. Ballingall has erected on top of his five-cent lunch house, a panoramic view that is immense. He must have got his idea for it in some oriental country during his trips around the world. Like the woman’s calico dress it must have been ‘pretty costive’ Hugh Lanning was the artist who executed it” (p. 2). This is the last article that I have located about Lanning’s work.  What once seemed a promising career simply faded away after World War I.

By 1920, Lanning was living with his daughter, Fanchon, son-in-law, Ed Schworm, and granddaughters, Patricia Ann and Betty. He remained at the Schworm home there until his passing. His last work as a scene and sign painter purportedly occurred in 1931.

Lanning passed away on Sept. 8, 1933. The cause of his death was listed as myocarditis; senility was considered a contributing cause.

Lanning’s obituary was published in the Ottumwa Courier on Sept. 9, 1933:

“Hugh Lanning, Sr., 80 years old, died at 401 McKinley avenue at 6 p.m. Friday. He was born in Agency township, the son of David and Nancy Lanning, April 27, 1853. In 1876 he was married to Josephine Rush. She preceded him in death in 1905. Since that time he has made his home with his daughter, Mrs. Ed M. Schworm. For many years, Mr. Lanning was a leading landscape and sign painter here. He has lived practically all his life in Ottumwa. Surviving are two sons, H.A. Lanning of Battle Creek, Mich., and N.D. Lanning of Chicago; one daughter, Mrs. Schworm of Ottumwa; three grandsons, five granddaughters and one great-grandson. Funeral services will be held Monday at 2 p.m. at the Schworm residence. The Rev. O.B. Preston, pastor of the Plymouth Congregational church will officiate. Burial will be in Shaul cemetery. The body was removed to the Johnson funeral chapel and will be returned to the home, Monday morning.”

To be continued…

Travels of a Scenic Artist and Scholar: Harry Dressel Scenery Collection at the Theatre Museum of Repertoire Americana.

Copyright © 2024 by Wendy Waszut-Barrett

The oldest scenery collection at the Theatre Museum of Repertoire Americana was painted by Harry Dressel in 1875.

Two shutter covers painted by Harry Dressel in 1875 for Steyer’s Opera House, Decorah, Iowa. They are now part of the Harry Dressel Collection at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SR shutter cover, painted by Harry Dressel in 1875.

I examined two cottage shutter covers during my visit last month. They were once part of a stock scenery collection at Steyer’s Opera House in Decorah, Iowa. The scenery was donated through the efforts of Dr. George D. Glenn and Richard Poole, authors of “The Opera Houses of Iowa.” Theatre Museum records indicate that some of the Steyer’s Opera House scenery was placed on display in 2001. When I visited the museum in 2017, the cottage shutters were still on display.

SL shutter cover on display at the Theatre Museum in 2017.

In 1989, Glenn even made a 12 ½ minute documentary about the extant scenery, lighting, and stage machinery, entitled “Steyer’s Opera House.” Here is the YouTube link to the 1989 video: https://youtu.be/r_2l6pGmp3A?si=31RV5ShRr2lSka_w

In 1989 the third-floor opera house was an 1875 time-capsule of stage technology. At the time, it was possibly the oldest extant stage boasting an original 1875 scenery and stage machinery installation in North America.

Image from George Glenn’s 1989 movie that shows the state of Steyer’s Opera House when he first visited the stage.

As is the case with many historic stages, new building owners, investors, and other stakeholders fail to understand the significance of what they have, especially stage artifacts. Fortunately, some of the scenes were transported to the Theatre Museum.

I know of only one older scenic piece in North America – a front curtain painted by Russell Smith for the Thalian Hall in Wilmington, North Carolina (1858).

1858 Front curtain by Russell Smith on display in the Thalian Hall lobby in Wilmington, North Carolina in 2019.

Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.

Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.

To my knowledge, the Steyer’s Opera House contained the oldest collection of stage scenery, machinery, lighting equipment, “as delivered” until the 21st century.  It still signifies some of the the oldest examples of signed American scenic art.

Signature on the front of Steyer’s Opera House SR Cottage shutter.

The second oldest examples are 1888 wing-and-shutter scenery signed by Frank Cox for the Tabor Opera House in Leadville, Colorado. Amazingly, Dressel signed the front of the shutters. Cox signed the back.

Frank Cox signature. Tree profile at the Tabor Opera House, Leadville, Colorado.

The Theatre Museum’s Dressel collection signifies the oldest extant example of stock scenery delivered to an American opera house. In addition to age, the creator of Steyer’s Opera House scenery was internationally recognized as an extremely skilled scenic artist. Dressel’s scenic art made news from Toronto to New Orleans in the nineteenth century.

Here is the tale of Henry “Harry” Dressel.

Henry Dressel was the fifth child born to F. Ludwig “Louis” Dressel (1817-) and Sophie Schmidt (1820-1899) in Hanover, Germany. In 1858, the Dressel family boarded a ship in Bremen and sailed for America. On Oct. 22, 1858, they arrived in Philadelphia aboard the Brig Amazone. The ship’s manifest listing Ludwig Dressel (40 yrs. cooper), Sophie (38 yrs.), Marie (15 yrs.), Christian (13 yrs.), George (9 yrs.), William (7 ½ yrs.), Henry (6 yrs.), Louise (5 yrs.), and Adolph (3 mths.).

Ship’s manifest with the Dressel family’s arrival in Philadelphia. Oct. 22, 1858.

The family soon settled in Chicago where Louis Dressel listed his established trade as cooper in the City Directory. Although the family initially lived in a boarding house on Kinzie, they soon secured permanent lodging at 227 N. Franklin.  Dressel transitioned from cooper to a rectifier for Theodore Kraefft. Kraefft who not only sold wines and liquors (77 S. Water St.) but also operated a distillery (329 N. Wells St.). Dressel remained with the firm for some time; accepting whatever job came his way, continuing with the firm as it transitioned from Kraefft & Co. to Kraefft, Roelle & Co.

In 1870, the Dressel family were still living at their home on N. Franklin. However, Louis and William were now operating a retail grocery store, Dressel & Son. Meanwhile, Harry Dressel was listed as a fresco painter, boarding at 298 N. Franklin.

While examining the 1870 Census report another name caught me eye – Fest. Living next door to 18 yrs. old Harry was the 19 yrs. old painter Oscar Fest. Fest was only a few months older than Dressel, having been born on Aug. 10, 1852, in Breslau, Germany. Fest and his parents had emigrated in 1853, five years before the Dressels.

In 1870, Fest was also living with his parents on N. Franklin. Both Harry Dressel and Oscar Fest started as decorative painters and later each became incredibly well-known scenic artists; Dressel in New Orleans and Fest in San Francisco. Both of their fathers had worked as coopers. It would have been quite unusual if the two families were not close. It would be uncommon for either Fest or Dressel to have apprenticed as painters after the age of 16. This means that their entrance into the painting profession occurred about 1867. Fest is even listed in the 1867 Chicago Directory a painter.

Both young men may have begun their artistic careers with Robert W. Hanington. Hanington was a wire shade and decorative artist who lived just up the street at 296 N. Franklin. Again, the first listing for Dressel as a fresco painter lists his residence as 298 N. Franklin.

North Franklin street was destroyed by the great fire of 1871. The Dressel family immediately rebuilt their home and continued to live in the area. After all, both their home and grocery business had been in North Franklin when flames swept through in 1871.

Just before the great Chicago Fire of 1871, Dressel began working as a scenic artist for the Globe Theater. Although he was listed in the 1872 Chicago Directory as a fresco painter, he was also listed as scenic artist for Chicago’s Globe Theatre that year.

His link to the Globe was advertised during the tour of Alderson’s Panorama that summer. Newspaper advertisements for the Chicago Fire Panorama listed four contributing artists for the 3,700 sq. ft. painting: one designer and three Chicago-based scenic artists:

Henry Cross of the Academy of Design

J. Howard Rogers, scenic artist of McVicker’s Theatre

Henry C. Tryon, scenic artist of Wood’s Museum

Henry Dressel, scenic artist of the Globe Theatre

I believe that Dressel first worked as an assistant to Rogers and Tryon at the Globe Theater when it opened in 1870. The Globe Theatre was initially referred to as the West Side Theatre, with Allen being the first proprietor and lessee of the place (The Chicago Evening Mail 31 Oct. 1870, p. 4). The great fire did not destroy the Globe Theatre, although it came close; crossing the river just a few blocks south. Despite many scenic artist’s losing their homes and employment, those at the Globe were fortunate. It is very likely that the Chicago Fire panorama was painted by Rogers, Tryon, and Dressel at the Globe Theatre.

Map showing the Globe Theatre in relation to the river and burned district.

On Nov. 21, 1870, the Chicago Tribune advertised the opening of “Allen’s Globe Theatre, Des Plaines Street, West side, between Washington and Madison Streets” (p. 4). The announcement credited the Globe’s new scenery and drop curtain to Messrs. James Howard Rogers, John M. Kauffman, and Henry C. Tryon. Kaufmann relocated to Cincinnati by 1874, where he continued working as a scenic artist at local theaters for the remainder of the 19th century.

Portrait of Henry C. Tryon in 1886.

Of this grouping, Roger’s was the premiere artist of the group, with his scenic art solely mentioned in many articles. For example. On Nov. 22, 1870, the Chicago Tribune described, “The decorations of the auditorium are simple, but in great good taste, and the scenic artist, Mr. James Howard Rogers, has put forth his entire artistic skill in getting up the scenes, all of which are of real excellence. In the drop curtain Mr. Rogers has boldly departed from the eternal Lake of Como with its dreadfully Italian sky, etc.; and has drawn his inspiration from home. The picture represents the progress of civilization. It is a beautiful Western scene, composed of lake and mountains, a railroad train – the emblem of advancing civilization – crossing a bridge, and away to the westward, the Indian, with his bow and arrows, receding before it, and following his own setting sun. At the front of the curtain appears the inscription, “Westward the course of empire takes its flight” (p. 4). This article made it seem that Rogers painted everything by himself. Rogers was living in the city, however, as he was listed in the 1870 Chicago Directory: “Howard Rogers, scene painter, r. 34 Price pl.” The listing forgot to include the “J” in front of Howard Rogers.

Rogers maintained a close connection with the Globe, as his wife worked there in 1871. On Feb. 17, 1871, The Chicago Evening Mail announced, “Sick – Mrs. J. Howard Rogers, of Allen’s Globe Theatre, has for the last few days been extremely ill. Until yesterday, it was feared that she would not recover. She is better today” (p. 4).

It is important to remember that scenic art assistants were seldom credited in these theatrical endeavors.   When both Tryon and Kauffman were credited, it was as legitimate contributors, not as assistants. Other articles solely credit Rogers as he boasted the biggest reputation at the time. Pot boys or scenic art assistants were never mentioned in metropolitan news.

D. R. Allen’s management of the Globe Theatre was short-lived, ending early in 1871. There were a series of mechanics’ liens against the Globe property, with Col. J. H. Wood listed as proprietor in 1872. On January 25, 1872, the Chicago Tribune even referred to the venue was called Wood’s Globe Theatre, after Colonel Wood’s Museum Company at the Globe (p. 4).

Rogers, Tryon, and Dressel painted Alderson’s Great Panorama of the Chicago fire early in 1872 so it could tour that summer. They worked from primary sketches by Academy of Design instructor, Henry C. Cross.

Chicago before the fire. Link to image: https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:1871_Chicago_view_before_the_Great_Conflagration.jpg

Photographs by George N. Barnard after the conflagration. https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:Attributed_to_George_N._Barnard_-_Untitled_(Chicago_after_the_Chicago_Fire)_-_Google_Art_Project.jpg

Their work immediately toured the country, accompanied with musical performances and descriptive recitations. By late July the panorama was exhibited at Piatt’s Music Hall in San Francisco. Several advertisements for the panorama were placed in Figaro. This newsletter referred to itself as “the organ of amusement….circulates in….All the Theatres and is Circulated Every Day in the Year Generally Throughout the City and on the Boats and Cars.” Figaro stated that its newsletter was “published every Day in the Year by J. P. Bogardus at 22 Merchant and 535 Washington Streets, Below Montgomery, San Francisco.”

Advertisement for Alderson’s Panorama in Figaro, 1871.

Another advertisement for Alderson’s Panorama in Figaro, 1871.

Although the digital scan of newsletter is quite poor, Figaro is a wealth of information about theatrical activities in San Francisco during the second half of 1872. Here is a link to those who may be interested: https://archive.org/stream/figarojulydec18700unse/figarojulydec18700unse_djvu.txt

The same advertisement was placed in Figaro announcements for several days. The article consistently reported,  

Panorama of the Great Chicago Fire.

Alderson’s Panorama of the Great Chicago Fire has arrived and will be exhibited in Piatt’s Hall on Friday evening next. This painting covers over thirty-seven hundred feet of canvas was executed from actuals views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry C. Tryon, scenic artist of Wood’s Museum; Henry Dreissel [sic.], scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House. The mechanical appointments are by the celebrated John Faust of Dearborn Theater and Opera House, all famous artists in their line. The panorama represents Chicago before the fire, the city in flames, and afterwards the ruins. Other sections present views of the old cemetery, with its scenes of suffering representations of the public buildings, printing offices, and water works of prominent places. Succeeding these, are views of the ruins of the churches, the exhibition closing with the ruins of the Masonic Temple by moonlight. A lady of Chicago will deliver a descriptive lecture, interspersed with appropriate ballads, anecdotes, and incidents. This approaches the anniversary of this dreadful event which took place October 8th and 9th, recalls the horrifying scenes to memory, and these will be found faithfully depicted in the great panorama. The process of admission have been fixed at the low rates of 50 cents and 25 cents, and on Sunday afternoon a matinee will be given at half prices.” (Daily Figaro, San Francisco, 31 July 1872, page 1).  Some of the advertisements included a listing of various scenes:

“Chicago before the Fire; The Conflagration; Thousands of Houses in Flames; The Scenes of the Old Cemetery; The Ruins; Views of Principal Streets; Public Buildings, Printing Offices, etc.; Ruins of the Churches; Something About Mrs. O’Leary’s Cow; Music, Songs, Stories, Recitations; and Descriptive Lecture and Dramatic Ballad by a Lady of Chicago

Chicago” (Figaro 31 July 1872, p. 1).

One of many articles in Figaro describing the panorama in 1871.

Alderson’s panorama was one of many panorama’s depicting the tragedy that toured in the country at the time. Frank D. Skiff formed, Skiff & Co., to create another panorama of the Chicago Fire. The work was credited as “the work of scenic artist Frank D. Skiff, the well-known scenic artist” (Chicago Tribune 17 Dec 1871, p. 7).

Dressel’s early scenic art career mimics that of many during the early 1870s. Aspiring artists secured work as decorative painters. This employment brought them into director contact with other decorative artists who worked as scenic artists at theaters. In most cases, scenic artists were paid a higher salary, but the work was more sporadic.

Portrait of P. M. Almini

One example of an artist who bridged the decorative and scenic art worlds was Louis Malmsha. Malmsha not only worked for the decorative firm of Jevne & Almini (later known as P. M. Almini & Co.), but also worked at McVicker’s Theatre. Malmsha is the common thread between several scenic artists working in Chicago during the 1870s. For example, both Rogers and Tryon worked with Malmsha at McVicker’s in 1871. This is the year after Rogers and Tryon painted scenery for the Allen’s Globe Theater.

At this time, if a young artist showed promise, he was immediately brought into the theatrical fold. The demand for scenic art was greater than the supply of scenic artists.

Portrait of Thomas G. Moses in 1886.

Thomas G. Moses is another example of a young man who worked as Malmsha’s assistant in 1873, both at Almini’s and McVicker’s in 1873. Both Moses and Tryon ended up as Sosman & Landis Scenic Studio employees by the early 1880s.

When considering Dressel’s entry into the scenic art profession, his initial training was in Chicago before the Great Fire. The 1871 tragedy meant that many scenic artists left the city, as they were left without work. Many, such as Malmsha relocated to other metropolitan areas. There was a waiting period before new stages were constructed for popular entertainment. Others produced painted spectacles that toured, such as the Chicago Fire panoramas. Rogers, Tryon, and Dressel had worked together in the past, and therefore teamed up to paint Cross’ design.

Dressel was touring with the Tannehill Company at the beginning of 1872. He was listed as part of the company, as well at the scenic artist.

I need to provide some context for Mr. and Mrs. F. A. Tannehill concerning the time when Dressel joined their troupe. In 1872, they sporadically performed on stages along the eastern seaboard. Their young daughter, Birdie, even joined them on some occasions. On June 13, 1872, The Valley Virginian of Staunton, Virginia, reported:

“AMUSEMENTS. Mr. and Mrs. F. A. Tannehill, assisted by their infant daughter, “Birdie,” only five years old, will give one of their chaste, beautiful and intellectual PARLOR ENTERTAINMENTS, at the Town Hall, on Tuesday evening, June 18th. They are well and favourably known and remembered by our citizens, as the leading members of the ‘Old Reliable Company’ when here last Winter. Those who desire to witness a legitimate performance, will be more compensated by attending (p. 3).

Birdie passed away in the spring of 1873.

On March 11, 1873, the “Deaths” section of the Staunton Spectator announced, “At 125, Simcoe Street, Toronto, Canada, on Monday, March 3rd, little Birdie, daughter of Mr. and Mrs. F. A. Tannehill, aged 5 years and 6 months.

Farewell parents, lay me gently

In my little narrow bed.

Think of God who gave and took me;

Now I slumber with the dead,

F. S. M.” (p. 3).

Birdie died from Typhoid Fever in Toronto.

Less than a year later, tragedy struck again in Toronto. This is how I connected scenic artist Harry Dressel with the Tannehill company.

An announcement in The Hamilton Spectator on Feb. 8, 1874, announced:

“FIRE! FIRE! FIRE!

In consequence of the Royal Lyceum, Toronto, burning down, the Company will play a short season at St. James Hall, commencing Monday, Feb 9. The Troupe consisted of the following first-class Artists:

F. A. Tannehill, Manager, Chas. Webster, Wm. Fuller, Wm. Ford, Dick Fowler, Nellie Tannehill, Nellie Stanwood, Mrs. Bradshaw, H. B. Bell, Burton Adams, J. R. Masters, Dick Featherstone, Harry Booth, Harry Dressel, Virginia Buchanan.

Harry Dressel was also listed as scenic artist, with W. Fordham as stage conductor.

The following pieces will be put on stage with new scenery, properties and machinery:

Ticket of Leave Man

Streets of New York

Dora

Colleen Bawn

Pat’s Trouble

Under the Gaslight”

On January 31, 1874, The Hamilton Spectator reported, “The Theater was insured in different offices to the extent of about $12,000, and was owned by Mr. French, by whom it had lately been leased to Mr. Tannehill. This is the third time the building has been attacked by fire, and it has at last succumbed to its assailant. The origin of the fire has not been ascertained, but it is supposed that it commenced in the carpenter’s shop, which being stored with paint, wood, shavings and other flammable material, caused it to spread with such unaccountable rapidity” (p. 2).

I remain unsure as to when Dressel joined the Tannehill company, or how long he toured with the group. I have yet to locate any other articles mentioning Dressel’s scenic prior to the summer of 1875. That year, Harry became the scenic artist for the Varieties Theater in New Orleans, Louisiana. There is no doubt that his association with the Tannehills would have improved his chances in the region. Mr. Tannehill had made quite a name for himself in southern theaters after the Civil War, especially Memphis. Initially, Dressel was hired to both paint and retouch scenery.

On Oct. 31, 1875, The New Orleans Democrat reported, “Amusements. The Varieties Theater. – The amusement season at this favorite theater will be inaugurated to-morrow evening by the first appearance in this city of Grau and Chizzola’s admirable French Opera Bouffe Company in the late operatic novelty of Gorofle-Gizolla. The opera itself is spoken of a Lecocq’s greatest triumph, and the critics of the New York press have been lavish in their praises of its merit. During the summer the theater has been carefully renovated, and Mr. Harry Dressel, and eminent scenic artist, has been busily engaged for some time past in retouching old scenes and painting many entirely new ones, all of which are characterized by beauty of design and delicacy of touch, and color.” (p. 8).

After his initial work at the Varieties Theatre, Dressel headed north and painted stock scenery for Steyer’s Opera House in Decorah, Iowa. On Dec. 9, 1875, the Chicago Weekly Post and Mail published, “Special Correspondence of THE POST and Mail. Decorah, Iowa, Dec. 3” (p. 3). The article continued:

“Prominent among the improvements is the enlargement of the Steyer Opera House, with a general overhauling, such as reseating with chairs, enlarged gallery, costly and fine scenery (painted by Harry Dressel, formerly of your city), and with a capacity of about 1,100 persons. Rudolph’s Music Hall has also undergone a similar change. About ninety buildings have been erected, among them some fine business blocks and residences, at a cost of over $150,000. Amusements are thick, A panorama ‘busted’ here a few weeks ago, and the operators went back to their legitimate business, and Jo Steyer, of the Opera House, has a ‘show’ on his hands. Plunkett’s troupe played crowded houses for a week recently, presenting ‘Two Orphans.’ Decorah promises to be lively in the way of amusements this winter.”

“Two Orphans” was a popular production in 1875. It was also featured at the Varieties Theatre in New Orleans that year, with Dressel painting the scenes. On Dec. 2, 1875, the New Orleans Bulletin reported, “Mr. Harry Dressel, the able scenic artist of the theater, has been for a long-time preparing scenes especially for this play” (p. 8). On Dec. 4, 1875, The New Orleans Bulletin further elaborated on the production and Dressel’s scenic contribution:

Elegant Scenery.

“The Two Orphans” at the Varieties.

No matter what the intrinsic beauty of strength of a drama may be, it is in the power of the scenic artist of the theater to greatly make or mar the play as a popular production. No drama is so good that it can be entirely independent of scenic accessories, and upon the artist who creates the scene it devolves to fitly picture the playwright’s ideal of situation and locality. We were led to these reflections by the sight was of the elaborate and artistic scenery which seen Thursday evening at The Varieties Theater in the play of “Two Orphans.” We have rarely witnessed more exquisite productions of the artist’s pencil. The snow scene, in which the very excellent portion of the drama is produced, was one of the most charming and life-like it has even been our good fortune to see; the floor of the stage seemed covered with beautiful snow and had not lain upon it long enough to lose its soft appearance, and had just been there sufficient time to gain a silver shimmer, which made it exquisitely delicate and charmingly picturesque. The beautiful garden and the palace of Belair was almost like a fairy picture in its beauty, and yet not to fanciful to be real. The entire front of the magnificent palace beautifully illuminated; a large and elegant terrace, lighted by handsome chandeliers, and opening upon a lovely garden, presented and elegant scene rarely if ever equaled here on the stage. The picture of the noble’s mansion and the beggar’s hovel were alike truthful and appropriate. Aside from the intrinsic merit of the play, and it is full of admirable points, the scenery should be seen by every lover of the artistic and beautiful in our city; it affords a rare treat and should be seen by all.  Harry Dressel, the artist of the theater, deserves the highest praise for his great success” (p. 1).

His scenic work for “Two Orphans” was still being heralded at the beginning of 1876. On Jan. 16, The New Orleans Bulletin reported, “Mr. Dressel, the scenic artist of the theater, wields a pencil in a way that commands the earnest applause of all judges of true artistic ability, and the scenes in the play, when first presented at this theater, evoked the warmest praise for their real intrinsic merit” (p. 1).

Dressel quickly made a name for himself in New Orleans, repeatedly appearing in local headlines. I am amazed at the amount of press Dressel received for his work, as there was ample work in New Orleans that year; enough to keep several scenic artists employed at multiple theaters, including Anthony Bagnette, Thomas Burke, Angelo Wiser, and William T. Porter.

Fortunately for Dressel, he immediately secured the scenic art position at the Varieties Theater. By December 1875, the venue was leased and managed by Mrs. Henrietta Chanfrau and C. W. Tayleure for a short season. Earlier that fall, Mrs. Chanfrau made news when she attended a performance at the Varieties Theatre with her husband. On Nov. 11, 1875, the New Orleans Republican reported, “Mr. Frank S. Chanfrau, the comedian, and his wife, Mrs. Henrietta Chanfrau, occupied a box at the Varieties Theatre last night. In a professional way, these artists differ as much as do ‘Kit Redding’ and ‘Christie Johnstone’ on the stage, and they seldom meet, and never set together during the theatrical season. In the summer they are ‘at home’ in their comfortable Long Branch residence, playing domestic life in a congenial manner, and appearing an honorable example to the members of the profession” (p. 4).

On Dec. 12, 1875, The New Orleans Bulletin announced Dressel’s scenic work for Chanfrau in “Parted, or the Trust Company Failure,” at The Varieties Theater. The article reported, “Mr. Dressel, the scenic artist of the theater, has been engaged for some time in preparing the scenery for this play, and judging from the admirable exhibition of his skill we have witnessed this season, we predict a rare treat for visitors of the theater” (p. 5).

Dressel continued to make news during at the Varieties Theatre for the rest of the season. On Jan. 4, 1876, the New Orleans Bulletin reviewed Geo. Fawcett Rowe in Halliday’s dramatization of Dickens’s ‘David Copperfield,’ which he named ‘Little Eml’y’.’ The article reported, “Mr. Dressel, the scenic artist, has added new laurels to his list by the elegant and effective scenery used in the play. The boat-house, the church scene, which is, by the way, and exact representation of the Canterbury Cathedral in England, and the storm scene were all perfect gems of the painter’s skill and reflect the utmost credit upon the artist whose pencil formed them” (p. 1).

Of “Watts Phillip’s military and romantic drama ‘Col. Willoughby; or, Not Guilty,’ The New Orleans Bulletin announced, “The plot of the play is in itself very interesting and exciting, and with the truly magnificent setting given it last night, makes one of the most splendid stage attractions we have seen in this city for many a long day. The ship scene in the second act, and the third and fourth acts, were new artistic triumphs for Harry Dressel, scenic artist of the theatre” (25 Jan 1876, p. 5).

Dressel was also heralded for his work on other New Orleans projects that month. On January 9, 1876, The New Orleans Bulletin announced, “The equestrian statue of Jackson which adored the gallery of the Pickwick Club yesterday was executed by Mr. Harry Dressel, the talented scenic artist of the Varieties Theatre, and was completed in an almost incredibly short space of time”) p. 1).

On Jan. 27, 1876, The Times-Picayune described the Washington Artillery Grand Ball at St. Patrick’s Hall: “But the most conspicuous object in the hall, and one upon which the gaze dwelt the longest, was a large sized painting that extended across the wall above the stage. The cartoon was done by Dressel, the scenic artist of the Varieties Theatre, represented a scene in the Shenandoah Valley. In the far distance appeared the huge masses of the Blue Ridge, with its irregular profiled outlined against the sky and white masses of snow merging into the azure coloring of the mountain tops. The silvery course of the Rappahannock might be traced across the broad expanse of rolling green sward, until the glitter of the stream was lost on the obscurity of the forest that stretched along the foot of the mountain range. In the foreground appeared two small field pieces, and close by on the ground a pile of cannon balls, a drum, and a group of muskets. The general effect of then painting was excellent and attracted much attention” (p. 1).

Of Dressel’s painting for John T. Raymond, The New Orleans Bulletin reported, “Mr. Harry Dressel, the talented scenic artist of this theater, has, won additional honors for himself during Mr. Raymond’s engagement – the realistic effect of his steamboat explosion, and his beautiful landscape painting has evoked the warmest praise” (Feb. 6, 1876, p. 8).

Less than two weeks later The New Orleans Bulletin commended Dressel’s work on “Christie Johnstone” at the Varieties Theater: “The scenic effects are very fine, especially the lifeboat rescue, which is a perfect marvel in its way, and is another triumph for Mr. Harry Dressel.” (Feb. 18, 1876, p. 8).

On March 8, 1876, The New Orleans Bulletin heralded Dressel for scenery in Chanfrau’s production of “Kit” – “Mr. Harry Dressel has done all he possibly could to render the play attractive and has really produced some scenic effects worthy of applause always tendered by the audience. The steamboat and the cabin are beautifully painted” (p. 5).

Dressel worked in New Orleans until the end of the season, then followed the Chanfrau Company to New York for the summer. On April 30, 1876, the New Orleans Republican announced, “Mr. Harry Dressel, scenic artist of the Varieties Theatre, leaves immediately for Chicago, and will be employed at the Eagle Theatre, New York, for the summer season” (p. 4). He left the city on May 4, heading up the river to Evansville, Indiana. On. May 9, 1876, The Evansville Journal   announced, The Charles Morgan arrived at 1 am with a big trip of freight and a crowd of people” that included “Harry Dressel and A. Riet, scenic artists” (p. 7). I was fascinated to read, “The Morgan was five days and eight hours out from New Orleans, including all delays.” In Evansville, the ship “discharged 65 barrels molasses, 35 barrels sweet potatoes, 15 barrels rice, 10 of pineapples, 4 cases bananas, 10 sacks coffee, and other freight.” From Evansville, Dressel headed west to Chicago. He was heading home to visit family before starting a position in New York.

On May 7, 1876, The Brooklyn Sunday Sun announced, “Mr. Clifton W. Tayleure, manager of the Varieties Theatre, New Orleans, has entered into a contract with Mr. Josh Hart, of the Eagle Theatre, for occupancy by the Chanfrau Company of the latter place of amusement after June 5…This company will probably occupy the Eagle Theatre until the fall season opens when Hart again assumes the management with a strong comedy troupe” (p. 5). Located at Broadway and 33rd Street, Josh Hart was the sole proprietor. While examining a few activities at the Eagle Theatre in 1876, I was surprised to discover sheet music for “Emancipation Day,” dedicated to Mr. Josh Hart. The cover noted, “sung with immense success at the Eagle Theatre, New York.”

Braham, David, “Emancipation day: song and chorus ” (1876). Representations of Blackness in Music of the United States (1830-1920). Brown Digital Repository. Brown University Library. Here is the link: https://repository.library.brown.edu/studio/item/bdr:17080/

Before Dressel joined the Chanfrau company in New York, he visited family in Chicago. It was early May in 1876. I wonder what brought Dressel home. It may have been his father’s declining health, as of May 1876, Louis Dressel made out his will.

When Dressel returned to New Orleans that fall, he resumed a position as scenic artist at The Varieties Theatre. On Nov. 11, 1876, Dressel was credited with the scenery for “Our Boys” under the management of Charles Pope.

Although Dressel was listed as scenic artist for the Varieties Theatre in the 1876 and 1877, New Orleans Directory, he also continued to complete a variety of projects that included fresco work. On Aug. 5, 1877, The Times-Picayune reported, “The ceiling of the office has been very prettily frescoed by Dressel, the scenic artist of the Varieties, and there are panels adorned with appropriate figures typifying industry and commerce. The steamboat Natchez has also a place among the figures on the ceiling. The walls are frescoed in scroll and figure work” (p. 1).

In 1877, Dressel was naturalized as a US Citizen.

The most interesting article that I discovered described Dressel’s work as a lighting artist. During the late 19th century, many scenic artists performed on stage. They would rapidly sketch characters or paint scenes as a variety act. At the Academy of Music in New Orleans, Dressel rapidly painted a tropical landscape for the benefit for Mr. William Morris, machinist of the theatre. On June 1, 1878, The Times-Picayune reported, “Harry Dressel, the scenic artist, who painted in sight of the audience, in less than eight minutes, a complete tropical landscape, commenting on a plain white canvas, six by eight feet. The subject was suggested by the audience, and the composition was the study of the moment. Time was called and the artist run a horizon line, spread on a warm sky, placed a mountain range, run a stretch of water, drew date and palm trees with spreading leaves, dropped a few bright flowers for perspective effect, and left a very pleasing picture for the admiration of an audience that was enthusiastic over such an exhibition of artistic skill and rapid execution” (p. 8). I have written about other lighting artists in the past and find their popular performances intriguing.

Despite accepting a variety of projects, in 1878, Dressel was still associated with the Chanfrau Company, even mentioned in their newspaper advertisements. On April 4, 1878, the Chattanooga Daily Times included an ad for the production of “KIT, The Arkansas Traveler.”

 The article reported, “Their great work was witnessed by upwards of 400,000 personsat Booth’s Theater, New York, and has realized Mr. Chanfrau over $65,000… ENTIRELY NEWSCENERY by Harry Dressel, the famous Scenic Artist of New Orleans, especially painted for this production.”

Dressel delivered scenery for KIT in 1878.

On October 6, 1878, the Chicago Daily Tribune published an advertisement for “Dominick Murray, in his exciting and very successful drama, entitled ESCAPED FROM SING SING; or, Criminal Life in New York” at Hamlin’s Theatre, 87 Clark-st., opposite Court House” (p. 1). The ad announced, “The Drama will be produced with entirely new Scenery by MINARD LEWIS, Esq., and HARRY DRESSEL, Esq.”

This brings Dressel back to the home of his family in 1878.

By 1880, Dressel partnered with John Charles Evans in St. Louis to form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882. Evans partnership with Dressel ended by 1883. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again. Evans became another employee as the Chicago-based firm of Sosman & Landis employee. Here is the link to Evans’ biography https://drypigment.net/2023/04/08/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-103-j-c-evans/

J. C. Evans was a scenic artist who went on to work for Sosman & Landis in Chicago.

On May 10, 1883, The Times-Democrat published an article entitle “OUR SUMMER OPERA – Arrival Yesterday of Miss Alice Oates and Her Company for Spanish Fort” (p. 3). Their arrival was “over the Louisville and Nashville road” with a 25-person opera company. Originally coming from NY.  “Mr. Harry S. Dressel, so well known here as a scenic artist and in connection with our theatres, has made the architectural designs and will superintend the decorations, scenery, etc. His past successes insure excellent work.”

On May 14, 1883, The Times-Democrat of New Orleans, reported about the Spanish Fort: “The gangs of workmen were engaged all day on the theatre over the water, just in front of the reck grotto, and the work will be continued night and day until completed. Already the joist for the floor have been laid, and as the rest of the frame-work has already been prepared to be put together, by the 20th the building will be completed, in time for the opening by the Alice Oate’s Opera Troupe. Piles are being driven for the foundation of that portion of the building to be occupied by the stage, which work will be finished by Tuesday. Harry Dressel is not losing a moment, and yesterday was hard at it, up on a scaffold, working on the new drop curtain. It will. Represent a scene in the days of Louis Quatorze. In the centre is a colonnade and portico of a palace, not unlike the Trianon, and before it a number of court ladies and gallants are engaged in the then favorite game of battledore and shuttlecock. The poses are graceful and the picture animated. Rich foliage gives a pleasant contrast to the white marble columns and adds a softness to the scene. Mr. Dressel is sparing no pains on this artistic study (p. 3).

Harry Dressel made news across the country. On Nov. 30, 1889, the Telegraphic News section of the Indianapolis Journal reported, “Harry Dressel, the well-known scenic artist, was dangerously stabbed at New Orleans, yesterday, by Ferdinand Amant” (p. 1). Dressel was now 38 yrs. old and wanted money for a project he completed.

On Dec. 3, 1889, the Cincinnati Commercial Gazette reported, “Harry Dressel, the well-known scenic artist of the New Orleans French Opera-house, was severely stabbed one day last week by a lawyer named Armant in a saloon adjoining the theater. The trouble grew out of an unpaid bill for work done by Dressel during the time of the Cotton Palace” (p. 8).

On Dec. 4, 1889, The Louisiana Review described the altercation about the unpaid bill:

“A difficulty occurred between Harry Dressel, scenic artist of the French Opera House, and Fernaud Armant, last Friday afternoon, in a barroom on Toulouse Street, over an unpaid bill for painting a stage curtain of the Cotton Place. Blows were exchanged and Dressel was cut on the face and neck by Armant. The wounds are not considered dangerous. Armant surrendered to Captain Journee, but was released under a $1000 bond” (p. 5).

Dressel briefly left Louisiana and headed to Texas. He picked up a variety of projects, including the design and decorations of floats for German Day. On Oct. 7, 1891, the Galveston Daily News announced, “By 6 am Mr. Harry Dressel, the artist in charge of the decorated floats was busy with a corps of hearty fellow, getting the heavy floats out of the warehouse sheds into the street” (p. 8).

By 1900 Dressel returned to New Orleans.

On Aug 24, 1900, The Canton Times of Canton, Miss. Reported, “The Manning-Yale Co., the biggest and most complete vaudeville aggregation touring the South will open at the Opera House Wednesday, September 12th…the company is composed of twenty vaudevillers who have made reputations and sustained them. A uniformed concert band and complete orchestra is included. Special scenery painted by the renowned scenic artist Dressel, is used. No expense has been spared to make this production one of the grandest in every detail and disappointment has yet to be evidenced by any audience” (p. 4).

On May 30, 1905, The Times-Democrat published Dressel’s obituary:

 “Harry H. Dressel, a well-known scenic artist, dies at his home, 4318 Canal Street, yesterday afternoon, after an illness of several weeks. His death was a shock to his many friends and acquaintances in this city, for he had been actively engaged in his work up to a short time before his death. Mr. Dressel was born in Hanover, Germany, fifty-three years ago, in which place he received his early education in college as well as in art. He came to this country when a young man and engaged in scene painting. Thirty-one years ago, he came to New Orleans and had lived here since that time. Mr. Dressel became connected with the French Opera House, and for a time worked exclusively. For that playhouse, turning out many hundreds of pieces of work. His studio was in the building, and within those walls he acquired fame. Mr. Dressel did work for the Grand Opera House and also for the St. Charles Theatre. Mr. Dressel started Lake View Park and fixed up a studio at West End. He did much work on the park, and at the same time worked on Carnival ball settings. His work for the Atlanteans was always complimented. The work for the Atlanteans of this year was the last he did. Mr. Dressel was at one time a member of the Southern Yacht Club. He was a vice president of the Ozone Spring Water Company and was a Knight of America belonging to Crescent Lodge No. 110. Mr. Dressel is survived by his wife. The interment will take place to-morrow at the Greenwood Cemetery” (p. 10).

His will was published in The Times-Democrat on 2 Jun 1905, noting, “the will admitted to probate makes a number of bequests: $500 to Harry Groh; $200 to William O. Conne; $100 to Mrs. William Groh; $25 to Lizzie Brown – the remaining property given to Miss Annie L. Hall with $200 for the purpose of keeping the grave of the deceased. David Lemly appointed executor” (p. 10).

To be continued…

Travels of a Scenic Artist and Scholar: Arthur R. Hurtt Street Scene, Theatre Museum of Repertoire Americana.

Copyright © 2024 by Wendy Waszut-Barrett

This post could be titled “Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 114 – Arthur R. Hurtt.”  Yes, I have identified more Sosman & Landis employees this month.

There is always a particular drop that catches my eye when examining an historic scenery collection. It might be the design, or maybe a manufacturer stamp; something that makes another piece of the puzzle fall into place.

On Wednesday, January 10, 2024, I examined a street scene at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. It was the end of the very long day, but my heart leapt when I read the signature – “A. R. Hurtt.”

Street Scene by Arthur Hurtt on display at the Theatre Museum of Repertoire Americana.

Signature on Street Scene by Arthur Hurtt.

Painted detail in Street Scene by Arthur Hurtt.

I first became aware of Arthur R. Hurtt while working on an Undergraduate Research Opportunity Program (UROP) Grant at the University of Minnesota Libraries Performing Arts Archives. I was processing the Great Western Stage Equipment Co. collection (GWSE Co.), the second of two scenery design collections negotiated by Professor Emeritus C. Lance Brockman, University of Minnesota Theatre Department (Twin Cities). The GWSE Co. materials were purchased for the University Performing Arts Library through the collaborative efforts of the University Library, the Department of Theatre Arts and University Theatre alum, Tom Scott.

I spent the better part of a year (1989-1990) cleaning and cataloguing the collection under the supervision of Barb Bezat in a run-down industrial building near the Prospect Park neighborhood. It was a far cry from the modern facility (Elmer L. Anderson Building) that is now located on the U of MN West Bank.  It was Barb who taught me how to clean, repair, and catalogue incoming acquisitions; many techniques that I have carried over to scenery restoration.

Barb Bezat in the stacks at the old archive building. Photograph courtesy of Bezat.

In my spare time, I replicated several designs, then enlarged painted details in distemper paint in the scene shop. As I was learning necessary scenic art skills, I was also practicing with distemper paint (dry pigment paste and hide glue).

10″ x 10″ replica by Wendy Waszut, 1989.

After copying the design at the archives, I would take my replica back to the scene shop where I would paint a 5’-0”x5’-0” full-scale detail using distemper paint (dry pigment paste and diluted hide glue). In the end my small flats were displayed at various UROP events. I presented the results of the UROP project, “The Categorization and Indexing of the Great Western Stage Equipment Co. Collection” both on campus and at a UROP conference in Schenectady, NY.

Photograph with my 5′ x 5′ distemper painting. Published in a CLA Newsletter, 1990.

I received a second UROP grant to process another Brockman acquisition – The Holak Collection (Sosman & Landis and New York Studios). There is nothing quite processing an incoming collection composed of theatrical designs and supplementary materials. You become entrenched in not only the visuals, but also business logistics and marketing tactics.

Some of my happiest hours were spent exploring the contents of a neighboring collection in the stacks – the Twin City Scenic Co. Collection. Much larger in scope, it had not only been processed in the mid-1980s, but had also been featured in an exhibition. Scenic designs and supplemental materials were exhibited from April 5 to June 14, 1987, in the Third Floor Gallery of the University Art Museum, Northrup Auditorium. I never had the pleasure of seeing the exhibit, as I didn’t start my college career until that fall.

It was while exploring the contents of the Twin City Scenic Collection in 1989 that I first encountered a design by Arthur R. Hurtt.

Hurtt, Arthur R.. Sketch of European street with a bridge and city gate.. University of Minnesota Libraries, Performing Arts Archives., umedia.lib.umn.edu/item/p16022coll116:87 Accessed 29 Jan 2024.

He was a one-time employee of the Twin City Scenic Studio, c. 1900-1909. I again examined the sketch as a doctoral student in 1999. At the time, I was assisting in the design of a searchable database for the Performing Arts Archives scenery collections. One of my many tasks was to assign metadata for each digitized image in the Twin City Scenic Co. Collection, Great Western Stage Equipment Co. Collection, and the Holak Collection.

Screenshot of information that used to be included in the database before it shifted servers.

One of my responsibilities was to select five keywords to best identify the artwork. I also created a list of identifiers, while determining creators. It was a challenge to match paintings based in color combinations, paint application, and brush stroke. I was constantly comparing rough drafts, pencil sketches, and color renderings. This meant that I eventually memorized the contents of three collections.

Best. Training. Ever. 

My continued handling of the three collections helped shape my understanding of scenic illusion for the stage. It also provided me with a visual reference when examining extant examples of full-scale scenery at historic opera houses.  

When I encountered Hurtt’s signature on a street scene at the Theatre Museum of Repertoire Americana, it was like greeting an old friend.  It also meant that I immediately knew the significance of the piece. 

I know of no other extant scenic artworks by Hurtt. This drop may be one of the most important artifacts at the museum. Hurtt’s scenic art legacy spanned over sixty years, linking him to major scenic studios in Minneapolis, Chicago, Kansas City, St. Louis, New York, and Los Angeles. In 1901, he was even chosen as the representative of the American Association of Scenic Artists in the international association, visiting Germany, Switzerland, Italy, and Norway in the interests of American scenic art. Although I have gradually added information to my Hurtt file over the years, this project provided me with an opportunity to do a deep dive into his life and career.

His biography is often included in publications that list regional artists, citing that he studied at the Art Students League of New York with Douglas Volks and Irving R. Wiles, and in France with Alex Fournier. Mentions of his early life and scenic art career are vague or non-existent. I am going to try and fill in a few gaps, illustrating the theatrical contributions and remarkable individual who was born in a small Wisconsin Village six months after the onset of the Civil War.

Arthur Russell Hurtt, 1901.

Arthur Russell Hurtt was born on Oct. 31, 1861, in the village of Trimbelle, Pierce County, Wisconsin. For geographical context, the township of Trimbelle is situated along the Trimbelle River in western Wisconsin. It was a newly settled area when the Hurtt family moved north from Illinois.

A map showing the location of Trimbelle, Wisconsin.

Trimbelle’s post office was established in 1855, with postmaster Aaron Cornelison bringing the mail from Prescott once a week. Early buildings included a church, school, and grist mill. As settlers arrived at the area, a variety of other businesses appeared, including sawmills, blacksmith shops, and a furniture store. In fact, ten other townships were organized in Pierce County by 1860. They included Martell, Isabella, Diamond Bluff, Clifton, Oak Grove, Perry, Pleasant Valley, Hartland, Trenton, El Paso, and River Falls.

The story of Hurtt’s parents is quite complex and took quite a while to track down. Arthur was the third child born to William G. Hurtt (1826-1894) and Sarah Marcy Smith (1828-1897). That being said, he was the fourth child born to his mother. Sarah was the youngest daughter of a Revolutionary veteran. On Dec. 8, 1897, The Berkshire County Eagle reported, “Mrs. Sarah M. Smith Hurtt, whose death was mentioned in the County Eagle of November 24, as having occurred in St. Paul, Minnesota, justly claimed to belong to the Daughters of the American Revolution. Her father was the late Russell Smith of Stockbridge who enlisted in the Revolutionary War at the age of 18. He married his second wife here in Stockbridge after he was 60 years old and his only child, Sara M. Smith (Hurtt) was born when her father was 64 years of age. Mr. Smith. Who (by the way was a great uncle of your Stockbridge Correspondent) was one of the revolutionary heroes, who fought for American freedom” (p. 14).

She was quite a lady. In 1896 Mrs. Sarah M. Hurtt was featured in The Minneapolis Journal on April 25, 1896. Under the heading “In a Woman’s World,” the article reported, “This sketch is by her son, Arthur Hurtt, the well known scenic painter, from a bust by Jacob Fjelde, the sculptor. Mrs. Hurtt is the daughter of revolutionary hero, Russell Smith, who at the age of 18 was drafted, in 1780, and fought in the American Revolution. He had three brothers who fought in the same was. His daughter was born when Russell Smith was 64 years old, and she was 14 when he died. She remembers well his stories of experiences in the Revolution” (p. 5).

Bust of Arthur Hurtt’s mother by Jacob Fjelde, published in The Minneapolis Journal, 1896.

The sculptor was Norwegian-born American Jacob Henrik Gerhard Fjelde (1859-1896); well known as a portraitist and creator of public sculptures. Here is a link for more information about Fjelde: https://en.wikipedia.org/wiki/Jacob_Fjelde

Portrait of Jacob Fjelde. Here is the image link: https://commons.wikimedia.org/wiki/Category:Jacob_Fjelde#/media/File:Jakob_Henrik_Gerhard_Fjelde_(1859%E2%80%931896).png

Hurtt’s mother’s story and portrait were again published the following year when she passed; this time in the Minneapolis Daily Times on Nov. 24, 1897 (p. 4).

Sarah M. Hurt portrait, published in the Minneapolis Daily Times, 1897.

This interesting tidbit was again publicly made known when Hurtt was working as a scenic artist in Los Angeles, California. On March 9, 1907, The Los Angeles Times reported, “Mr. Hurtt is said to be the youngest person whose grandfather was in the War of Revolution. His mother was Sarah M. Hurtt, a daughter of a Revolutionary soldier. Her father, Russell Smith, enlisted in 1780 at the age of 18. He was 64 years old when his daughter Sarah was born” (p. 24).

I am going to start out with Sarah M. Smith, as she was the hardest to track down in public records. Sarah was the daughter of Russell and Cynthia Smith, she married her first husband, Royal B. Whitney (1823-1856), at the age of 21 yrs. old on Aug. 24, 1849, in Lanesborough, Massachusetts. This was her 26-yrs. old husband’s second marriage.

The 1850 census lists the newly-married couple living with Royal’s family in Buxton (York County), Maine. Royal was one of several adult children living on the Whitney farmstead that year. Oddly, Royal and Sarah Whitney were also counted at another Buxton household when the 1850 census was taken, with Royal listed as an engineer. In 1853, Sarah and Royal’s only child, Mary Abbey Cynthia Whitney, was born.

This is where it gets a little confusing.

Sarah gave birth to William Hurtt’s first child, Isabelle Hurtt, in 1855. Hurtt was her second husband. Then the couple celebrated the birth of a son, William Hurtt Jr. in 1856. Both children were born in Illinois while her first husband, Royal Whitney, was still alive and legally married to Sarah. He did not pass away until 1856, and Sarah did not marry Hurtt until 1860. Arthur Hurtt was born in 1861, the first legitimate child of Sarah and William Hurtt.

By 1860, Sarah’s second husband was caring for her three children in Trimbelle, Wisconsin. She is conspicuously absent from the Hurtt household in the 1860 US Federal Census Report. William Hurtt’s household included: William (35 yrs.) and his children: Mary (18 yrs., step-daughter), Isabelle (6yrs., daughter) and William Jr. (4 yrs., son). His wife was also living in Trimbelle and working as a schoolteacher. However, she was living with Alexander and Hannah Hathaway, and an 8-yrs. old girl named Sarah Whitney, who listed Wisconsin as her birthplace.

The Hurtt’s were still living in Wisconsin at the onset of the Civil War. William Hurtt enlisted in the Union Army at Prescott, Wisconsin, listing the town as his residence. Private William G. Hurtt served with Company A, 12th Regiment, Wisconsin Infantry, from Dec. 16, 1863, to July 16, 1865.

I am uncertain as to when the Hurtt family moved twelve miles west to Prescott, but they were still living there in 1870. A much larger community than Trimbelle, Prescott is located at the convergence of the St. Croix and Mississippi Rivers and offered many more employment opportunities. It was a center for river transportation, shipping, and milling. There was an ample supply of wood, as harvested pines were rafted down the St. Croix River. When the 1870 census was taken, William Hurtt was employed as a cooper.  Keep in mind that those skilled a barrel-making were an essential part of agricultural activities, especially in the Midwest.

The Hurtt family lived in Prescott for much of the 1870s before venturing up the Mississippi to St. Paul, Minnesota. Both William and Arthur Hurtt were listed in the 1878 St. Paul Directory. The family lived at 136 E. Fourteenth, with William continuing his trade as a copper and Arthur working as a painter. In later years, Hurtt recalled that he began his “study of art” in 1878.

The family remained at the same address the next year, with Arthur continuing work as a painter. In 1879, he listed his employer as Ingham & Corlies. This firm manufactured sash, door, and blinds. Painters were employed to paint scenes on decorative blinds for both commercial and residential windows. Edward Ingham’s and William Corlies’ storefront was located at Eighth and Jackson. Arthur likely worked at their factory location; the northwest corner of Sixth and Cedar. Other employed at Ingham & Corlies in 1879 included glaziers, machinists, woodturners, and carpenters. In fact, there were over 200 individuals who listed themselves as painters in the St. Paul Directory that year, working for a variety of firms that included factories for machinery such as St. Paul Harvester Works, St. Paul Plow Works, St. Paul Foundry & Manufacturing Co., and the St. P & D. Railroad. Beck & Rank, E. F. Kramer & Son, Judson & Brack, and J. A. Brazille & Bro. were decorating firms that also employed a significant amount of painters in St. Paul, advertising fresco, home, and sign painting. Hopefully, this provides context for employment opportunities when the Hurtt family moved from Prescott, Wisconsin, to St. Paul, Minnesota.

Hurtt transitioned from painting blinds to painting stage scenery in 1879. In later years, Hurtt listed that his first notable scene painting project was for C. R. Foreman’s “Cuban Spy.” In 1879, Kansas City newspapers announced the engagement of Foreman at Clark’s Coliseum Theatre in his “new and sensational drama…with new scenery, properties, etc.” (The Kansas City Times 30 Dec 1879, p. 8).

Arthur Hurtt painted scenery for Rial’s The Cuban Spy In 1879.

In 1879, William Hurtt was not listed in the St. Paul directory. Only Arthur and his mother, Mrs. Sarah Hurtt, were listed as living at 136 Fourteenth.

It is possible that William Hurtt’s injuries sustained during the Civil War forced the Hurtt family to move up stream and closer to a veterans’ facilities in St. Paul. On June 12, 1880, the William G. Hurt applied for a Civil War pension as an invalid. From this point on, he was not included in any City Directory. The 1880 census confirmed that William G. Hurtt was no longer part of the Hurtt household, as that year, the US Federal Census recorded that only Sarah Hurtt was living with three daughters: Mary A. C., Sarah E, and Martha “Mattie.” Arthur was likely on the road – painting. The 1890 Veterans Schedule listed William G. Hurtt at the Minnehaha Soldiers Home in Minneapolis, Minnesota.

The 1880 St. Paul directory listed both Arthur and his mother living at 59 Cooper. Arthur was now listed as a scene painter, signaling the official beginning of his theatrical career. Hurtt soon working as the scenic artist for Wood’s Opera House in St. Paul and living at 202 13th street.

On Oct. 25, 1882, Hurt married Hansine “Winifred” Cammon (1864-1943) in St. Paul, Minnesota. Born in Henjum, Leikanger, Sogn of Fjordance, Norway, she was the daughter of Ole Ferdinand Cammen (1833-1896) and Bergitte Schanke (1832-1919). She emigrated with her parents as a toddler in 1866. By 1880, Winifred was listed as a domestic servant at the Kennedy boarding house at 183 Exchange Street in St. Paul. I have yet to locate any information regarding how to two met.

In later years, Hurtt stated that he worked on J. Rial’s production “Taken Fron Life” in 1882. Hurtt painted scenery for “Taken From Life” at the People’s Theatre that year. In both 1880 and 1881, Rial’s toured the Academy of Music in Minneapolis, offering an opportunity for Rial to encounter Hurtt (The Saint Paul Globe 7 Nov 1880, p. 8).

In 1883, Hurtt relocated to St. Louis, Missouri, resigning his position at Col. Wood’s Theatre. On April 1, 1883, The Saint Paul Globe reported, “Arthur Hurtt has resigned his position as scenic artist at Wood’s Opera House and will soon leave for St. Louis” (p. 5). As with many scenic artists at the time, Hurtt maintained a residence in more than one city. He painted an “H.M.S. Pinafore” set for the Chicago Ideal Opera Co. Extended stays in any one location for a scenic artist meant that new job offers had to reach them throughout the year. They trailed work from one region to the next, securing a series of rooms. For example, Hurtt was listed as an artist in the 1884 St. Paul Directory, rooming at 239 Norris. The mid-1880s found Hurtt bouncing back and forth between Minneapolis, St. Louis, and Kansas City. Rail travel between this metropolitan areas was extremely accessible at the time.

Hurtt’s services were secured for both the building and renovation of numerous opera houses throughout the 1880s. He was listed at scenic artist at St. Paul’s Olympic Theatre in Harry Miner’s Dramatic Directory for the season of 1884-1885.

His affiliation with St. Paul’s Grand Opera House started in 1883. That summer, he presented a painting to Harry G. Carter, who had charge of building the interior of the Grand Opera House.  On Aug. 26, 1883, The Saint Paul Globe reported, “a picture presented by Arthur R. Hurtt scenic artist to Mr. Carter, representing Carter’s process of turning out Opera Houses rapidly, which was very appropriate to the occasion, as he is certainly doing some rapid and excellent work on the new Opera house” (p 5). Smart move, as Hurtt later worked as a draughtsman for H. G. Carter in the 1886, even listing Carter as his employer in the St. Paul Directory

The Grand Opera House opened on Oct. 15, 1883, with Hurtt acting as the venue’s primary scenic artist. The Opera House was located on the east side of Wabasha between Third and, with other places of amusement including Conley’s Varieties Theatre, Knauf’s Hall, Pfeifer’s Hall, Music Hall and Athenæum. A notable project for Hurtt in 1884 was “Siberia.” In 1884, Hurtt painted a new drop curtain for Boyd’s Opera House in Omaha. Nebraska. On Sept. 13, 1884. The North Loop Herald announced, “A new drop curtain, costing $1,000 has been put up in Boyd’s Opera House at Omaha” (p. 3).

Hurtt was still listed in the 1885 St. Paul Directory as “scenic artist Grand Opera House, res 513 Robert.”

The Grand Opera House, St. Paul, Minnesota. 

On Feb. 1, 1885, The St. Paul Globe reported, “Mr. Arthur Hurtt, scenic artist at the Grand Opera House, is at work on a handsome tent drop, cottage flats and a couple of interiors, and a landscape scene just finished. Mr. Hurtt has only been connected with the Grand for a short period, but he has more than demonstrated his capacity for fine and artistic work. He is also engaged in revamping several sets of the eye-sore scenery which he found in use on his arrival, and which has been the subject of adverse criticism. The old scenery will be painted out as fast as possible, and before long it will be replaced with a stock of good modern sets. Mr. Hurtt is a gifted artist, and he deserves to be liberally encouraged, his treatment of foliage and figures being particularly fine.” On Feb. 22, 1885, The Saint Paul Globe  reported, “Mr. Arthur Hurtt, the scenic artist at the Grand Opera House, is a very retiring and modest young artist. He makes his brush do the talking, Mr. Hurtt is a great worker, and works very rapidly. He is engaged on the flats and settings for the opera house to be produced next week. Two of the scenes are finished, one a garden scene and the other a landscape, both good in color and perspective. Mr. Hurtt is a close student of nature, his foliage being most natural – something not at all easy in scene painting. By the way, the new drop curtain, which was put in place in the West St. Paul theater, is also by. This artist; it is a striking and very attractive piece of work” (p. 2).

In March, Hurtt was heralded for his work on the production “A Social Wreck” that month too. On Mar 8, 1885, The St. Paul Globe “A Social Wreck” – “Special scenery is being painted by Mr. Hurtt, scenic artist of the Grand Opera, for the production of the Opera” (p. 8).

By the end of summer, Hurtt again relocated to another city; his move making news in St. Louis. On August 15, 1885, St. Louis Post-Dispatch (p. 12): “Arthur R. Hurtt, the distinguished young artist who formerly lived in this city and who has made such a splendid hit in St. Paul, has temporarily located to Kansas City. Arthur is a young man who won a name through untiring energy and hard labor” (p. 12). In Kansas City, Hurtt secured accommodation at Independence Square. Hurtt was an immediate success. On August 29, 1885, the St. Louis Post-Dispatch reported, “Arthur R Hurtt is astonishing the natives of Kansas City with the productions of his brush” (p. 11). In 1885, Hurtt delivered scenery to The Academy of Music in Omaha, Tootles Opera House in St. Joseph, Missouri, and the Bijou Grand Opera House in Milwaukee. I believe that Hurtt was sporadically working for Sosman & Landis Scenic Studio at this time. The firm had regional branches, including Kansas City, that hired well-known scenic artists for short engagements when their workload substantially increased.

As previously mentioned, in 1886 Hurtt returned to St. Paul where he worked as a draughtsman for Harry G. Carter.  This is not meant to say that he stopped painting scenery for the year, he just accepted enough work to warrant the association in the St. Paul Directory. His work with Carter did not last for long, and soon Hurtt was back as a scenic artist, even on the road, working as a scenic artist throughout the region. In 1887, Hurtt became associated with a Chicago-based firm, likely Sosman & Landis. He returned to Minnesota shortly before the opening of On April 30, 1887, the Leader-Telegram announced, “Arthur Hurtt and Charles Clark, scenic artists, are now engaged in completing scenery for the new Eau Claire theatre, 211 Barstow street. Messrs. Fred Burnard and Hays yesterday purchased the fixtures, lease, etc., of the Sherman House” (p. 3). In addition to drop curtains and stock scenery collection, Hurtt also worked listed the following shows for notable work in 1887: “The Danites,” “Two Orphans,” “The Gallery Slave,” and “The Silver King.”

In 1888, Hurtt became associated with the People’s Theatre. On February 19, 1888, his name was mentioned alongside several other well-known scenic artists in an article entitled “Stage and Scenery,” published in The Saint Paul Globe (p. 10). The article reported, “Arthur B. Hurtt at the People’s Theatre, this city, is comparatively a young artist, having been painting scenery less than ten years, and a St. Louis paper is authority for his being one of the best young artists in the country. Mr. Hurtt is very retiring and modest young artist, a great worker and works rapidly He studies hard, is a close student of nature and has the true spirit of an artist, He has made a life study of trees and landscapes, his foliage being most natural, which is not at all easy to accomplish in scene painting. Being a good colorist, and draughtsman as well, his work is not often surpassed. Mr. Hurtt came here from Chicago a short time before the opening of the People’s theater and has painted all the scenery used there except the drop curtain, which was let to a Chicago scenic firm owing to the rush of the opening.”  The Chicago firm mentioned in the article was Sosman & Landis.

Hurtt remained at the People’s Theatre for all of 1888, repeatedly making news for his scenic accomplishments. Notable projects in 1888 included “The Black Flag,” “The Octoroon,” “Hazel Kirke,” “A Celebrated Case,” “Leah, the Foresaken,” “Lost in London,” “The Mikado.” Hurtt was also credited with scenery for Theodore Hamilton’s “Dr. Jekyl and Mr. Hyde,” “Sea of Ice,” and “Forty Theives.”

Of particular note was his work on “The Forty Thieves. On Dec 22, 1888, The Irish Standard reported, “Arthur Hurtt, the scenic artist of the house, returned a few weeks ago from a two-week’s visit to New York in search of designs and materials for the elaborate stage setting which will be a conspicuous feature of the production. He has, since his return, been at work on the scenes, aided by a large staff of assistants, and some strikingly beautiful tableaux’s have been prepared.” (p. 5). Other productions at People’s Theatre included, “Romany Rye,” “The Governor, and “Antietam.” Of “Antietam,” or the Spy of South Mountain,” one newspaper article reported, “A plantation scene will be an especially elaborate piece of stage setting, and Arthur Hurtt, the scenic artist, has provided a cyclorama, showing the stockade prison at Salisbury. Over 500 figures are shown on the canvas, and the scene will be topographically and historically correct” (p. 1).

Hurtt also continued scenic work at theaters in Minneapolis and St. Paul. In 1889 he painted scenery for Jacob Litt’s “The Stoaway” at the Bijou. On Oct. 13, 1889, The St. Paul Globe mentioned Hurtt’s continued association with the theatre in the “Foyer Gossip” section, “Arthur Hurtt, scenic artist of the Bijou, was last week called to Denver to paint the new scenery for the Star-Away company, which was burned up while the company was en route from Salt Lake City” (p. 10).

Hurtt’s work for Jacob Litt’s Grand Opera House in St. Paul even made news in Iowa. On Sept. 7, 1890, the Sioux City Journal reported, “The scenic artists were Arthur R. Hurtt and Fred E. Powers” (p. 10).

Hurtt’s reputation as an easel artist was also on the rise. On Sept. 18, 1890, the Minneapolis Daily Times reported “Arthur Hurtt’s Work. Another Half Hour in the Exposition Art Gallery. There’s a young Minneapolis man whose constant and conscientious work is bound to get him ahead. I refer to Arthur R. Hurtt. He is a clever scenic painter who does not propose to have a drop curtain fall upon him and his art before he has succeeded in appealing to a larger audience than view his stage effects. He puts in all his extra time in hard study, and the results are becoming very creditable to him. In the first gallery at the exposition hangs a picture by Hurtt entitled “Goldenrod.” A young woman in gray is standing in the midst of the Midas-touched flowers. There is some very good work in the picture, especially in the blossoms and the texture and coloring of the gown. Minnehaha is a never-ending joy to the artist or to the genuine nature lover. Her glen has many a beautiful sheltered nook not perceived by the careless comer, only discovered by her to the best of her lovers, just as the noblest of a shy woman is seen only by those who seek her out. Hurtt has painted a bit of “Minnehaha Creek” in No. 466. His “Reflection” too, shows this same hard work which Goethe pronounces the only genius.” (p. 2).

In 1891, Arthur Hurtt assisted William P. Davis in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. On April 11, 1891, “The Irish Standard” reported, “The stage has been enlarged and improved, new curtain and scenery being especially designed and painted by W. P. Davis, as assisted by Arthur Hurtt” (page 5). Davis was also a former Sosman & Landis employee who had worked in Kansas City with Lemuel L. Graham in the mid-1880s.

Shortly after Hurtt’s work with Davis, he headed east to work in New York and Boston, at Niblo’s and the Globe Theatre, respectively. Touring productions in 1891 included DeWolf Hopper’s “The Lady or the Tiger.”

While working in the east during 1892, Hurtt painted drop curtains for stages in: Athol, Mass.; South Norwalk, Conn.; World’s Theatre, Boston, Mass.; and Soldier’s Home Theatre, Togas, Maine. That year, he was living in Boston; first at 426 Broadway S., and later at No. 3, Web Court in South Boston. By 1893, Hurtt listed two residences:  221 W. 11th St., New York City, and the Hillman House in Washington, D.C.

Despite his move, Hurtt continued to return home and paint scenery for Twin City theaters, especially when architect H. G. Carter was involved with the project. In fact, in 1893, Hurtt painted scenery for Minneapolis’ Grand Opera House, Bijou Opera House, and Hennipen Avenue Theatre. On Jan. 1, 1893, The St. Paul Globe announced, “Minneapolis will have another theater, and W. F. Sterling, the veteran manager and prince of good fellows, will be its manager” (p. 13). The article noted that Carter was the architect and “Arthur Hurtt, of the Globe theater Boston, will do the scenic curtain work.” Staff for the new venue was announced on April 1, 1893, in The Star Tribune (p. 3). The article noted, “[Manager Sterling] has postponed the selection of the company long enough to engage his old stage carpenter of the People’s, Wm. Brown, for the new theater. Mr. Brown is at present head stage carpenter for the Harris house in Louisville. He will arrive here sometime before the opening and superintend the construction of the stage. The scenic artist of the new theater will be Arthur Hurtt, now of Niblo’s Garden, New York. Mr. Hurtt is well known in this city and considers it his home.”

Hurtt’s hiring coincided with the birth of his adopted daughter, Mildred “Minnie” M., who was born in North Dakota in April 1893. Although, I have yet to uncover any definitive dates pertaining to Minnie’s adoption, on Oct. 5, 1899, The Minneapolis Journal  announced, “Arthur R. Hurtt has gone to Fargo, N. D. for a month” (p. 5).

April 20, 1893, the Star Tribune reported, “Arthur Hurtt, formerly scenic artist of the old People’s (now Bijou) Theater, and lately established in New York and Boston, arrived in the city yesterday to begin arrangements for painting and supplying the new People’s Theatre with scenery” (p. 5). By June, Hurtt began designing for the space.  On June 4, 1893, the Star Tribune reported, “L. C. Stafford, proprietor of the new People’s Theater, and Manager Sterling have accepted a bright suggestion for a dramatic introduction to the theater made by the scenic artist, Arthur Hurtt. He will paint four life-sized portraits of great American actors to be handsomely framed and hung on the walls of the entrance-way as a lasting ornament and distinguishing features if the theater. Mr. Hurtt suggested four great actors, but the suggestion was patriotically amended to American actors by Manager Sterling.  The sight of the speaking portraits will assist the patrons as they pass in to get into the dramatic spirit that should pervade a theater” (p. 17).

 On June 18, 1893, the Star Tribune announced, “Manager Sterling, of the People’s has accepted the design for the drop curtain submitted by Arthur Hurtt. The picture will be poetic and beautifully colored representation of the coming of spring. There will be flowers, children and a beautiful colored representation of the coming of spring. She will be an ideal queen of the May.”

William E. Sterling, manager of the new People’s Theatre.

Interior of the new People’s Theatre.

On March 17, 1894, The Irish Standard announced the anticipated opening of the new People (p. 8). The article described the stage, making special mention of Hurtt: “The paint frame and bridge for scenic artist Mr. Arthur Hurtt and his assistants is on the read was and is incessantly occupied by himself and assistants for the production of new scenes for the forthcoming plays, which will have every scene painted especially for them each week. “The new People’s Theatre opened on March 24, 1891; its final cost estimated to be $250,000.

Hurtt’s career continued to soar, and on May 31, 1894, The Minneapolis Journal Published a detailed article entitled, “Arthur Hurtt’s Dream” (p. 6). I am including the article in its entirety, as it fills in many blanks and shows how much scenic artists traveled for work.

“There is a good deal more in dreams – some dreams – than people sometimes think, and this was attested the other day in a strangely interesting story told to a Journal man by Arthur Hurtt, the scenic painter at the People’s, and well known too, for his work in the line of landscape.

In 1879 Mr. Hurtt came to Minneapolis to do some scenic painting for the old Academy of Music. When he had completed his work here, he went to St. Louis for a few days and then to Council Bluffs where he was to do scenes for a new stock company theater just opening in that town. When he was well on with the work in Council Bluffs, he was, as is often the case with a man in any line of work, so interested that he would dream at night of his plans and work. One morning he woke up and recalled a dream he had of a beautiful landscape. It was a place of rare beauty, a dale or valley in the midst of gentle hills surmounted by graceful trees. In the center of the scene stood a large rock with a splendid old elm tree overhanging it, and near at hand, a clear stream from water, were cattle drinking – a most picturesque and interesting scene. So strong an impression did it make upon his mind that he sketched it out during the forenoon, that seeming to be the only way he could rid himself of the dream that haunted him.

A day or two later a landscape was wanted to fill out the set of scenes. Casting about for some material, the artist bethought himself of his dream, got the sketch, and made a scene from it. It was complimented highly and was one of the best things he had ever done.

This was in the wintertime. In June Mr. Hurtt was in Danville, Ill., putting the scenery in a new stock house at that place. While at work one day some men about the place asked him if he would not like to go for a swim the next day. The Vermillion river is near at hand, a clear, cool stream, and the invitation was accepted, Hurtt took along his sketching box, to note down any suggestion for scenes he might find. When the party was near the bathing place, out in the country some distance from the town, they passed down a little hill and found themselves looking into a beautiful little valley. Hurtt stopped and was suddenly deep in thought. There was something familiar about the place. At last, the thought dawned on his mind that he stood in the presence of the exact scene he had painted from his dream – the same big rock, the high, overhanging elm tree, the wooded hills roundabout, the stream flowing through the grassy valley, and even as he looked some cattle came leisurely down the hill to drink, filling the last detail.

Hurtt could hardly speak when he was asked to go on with the party, he was so overcome with a strangeness of the whole thing. He said he would stop where he was and make a sketch and the rest went on. He was hardly able to use his material at first so impressed was he with the fact that he was actually sketching from nature the picture he had before painted from a dream.

The next day in sauntered and old actor named Keane, who had been playing Council Bluffs when Hurtt was putting in the scenery there and who was a member of the Danville Stock company. After some general conversation he said:

“Say, Hurtt, why don’t you paint a landscape like the one you painted in Council Bluffs; that’s the gem of the whole lot?”

Mr. Hurtt told him perhaps he would, and then asked the actor if he wouldn’t like to take a walk. They did so later in the day, and Hurtt piloted him to the little valley and let him discover the scene of the dream. He was quick to see it, and exclaimed:

“Well, here’s where you got your sketch is it, for your scene?”

Hurtt told him no. that he had never seen the spot until a day or two before; that he had never been to Danville before in his life. When he told the actor the story Keane was much impressed. It may be that the strain of superstition which some folks maintain runs in the blood of an actor was in the old actor’s veins; at any rate, he wrote a long story for it for the New York Clipper.

But the strange part of the matter did not end here.

Some months afterward Mr. Hurtt was in St. Louis. He is very fond of paintings, of course, and one day he stepped into a gallery to look over the collection. Passing from picture he at last halted before a large canvas having a beautiful scene – lo! It was the scene of his dream!

He was sure of it beyond all question – the bog rock, the overhanging elm the cattle drinking. The hilly enclosure, the valley and its grassy carpet – it was his dream scene in all essentials, only worked out in detail somewhat. Ore, as a painter for an exhibition would be apt to introduce more of the details that one painting for a theatre scene.

Hurtt was amazed beyond measure. Plainly the artist who painted it must have visited Danville and made a sketch or done the whole painting there; and then he remembered that the manager of the theater had told him how much the scenery around Danville was admired by the artists and how they came there from various parts of the country to make sketches.

That was all well enough as an explanation of the picture in the St. Louis gallery picture came from – the artist had been there for his sketch, but that didn’t explain the strange fact of the dream in Council Bluffs.

While Hurtt was looking at the picture and wondering about the strangeness of the whole thing, by one of those peculiar mental acts which no one can account t for suddenly remembered being in St. Louis before – a year before. He had passed along this same street and by this same gallery. Yes, and he remembered now that he had stopped in front of the window to look at a beautiful landscape when his attention was immediately taken by an accident in the street. A man or woman was hurt, and it was right in front of him, he stepped to the street with the crowd. He had but just glanced at the picture; had not had a chance to more than take in the general scope, and then when the excitement of the accident was over he had passed on up the street without looking in the window again.

But the one glance had been sufficient to photograph upon his brain the picture, before which he was now standing. In his dream he had called it from its sleeping place in the gallery of his brain.”

In addition to painting scenery for the New People’s Theatre, Hurtt also was associated with Minneapolis’ Metropolitan Opera House. However, in 1895, scenic art opportunities temporarily drew Hurtt back east. On Aug. 21, 1895, the Minneapolis Daily Times announced, reported “Arthur Hurtt, formerly the scenic artist at the Metropolitan, is now occupying the same position at the Broadway Theater, of New York” (p. 5). Hurtt went to paint for John H. Young, another former Sosman & Landis employee. On Nov. 15, 1896, the Minneapolis Daily Times verified the connection when reviewing Hurtt’s scenery in the McKee Rankin production of “New York As It Is” at the Bijou (p. 15). The article reported, “The production is promised to be adequately staged and the special scenes will include a new exterior showing the famous high bridge over the Harlem River, New York, from the brush of the well known scenic artist, Arthur Hurtt, late of the studio of John Young, of the Broadway Theater, New York.” Hurtt continued to work with Young over the years on a variety of projects. In 1898 Young designed the scenery for “Mistakes Will Happen,” with scenery painted by Hurtt. On June 18, 1898, the Minneapolis Daily Times reported, “Arthur Hurtt, the well-known scenic artist, has constructed and painted a remarkable novel scene from models furnished by John Young, the celebrated Broadway artist” (p. 4).

By the following year, Hurt was once again working in Minnesota’s Twin Cities of Minneapolis and St. Paul. Hurtt tried his hand at a new entertainment- Living Pictures at the Jacob Fjelde Testimonial. On May 23, 1896, the Minneapolis Daily Times described, “After a short intermission the curtain rose again over a series of very artistic living pictures, arranged by Arthur Hurtt. The first of these showed Leif Ericson, as Jacob Fjelde has sketched him – a sturdy Viking, standing in the prow of his ship, looking ahead to catch the first glimpse of the shores of Vinland. Allegoric representations of the various fine arts followed. Then came two pictures entitled “Gettysburg,” showing scenes from the famous battlefield. These two pictures were among the finest of their kind that have been seen here. The last picture showed Ole Bull, the great violist. This closed a program. Which, although somewhat extended, was excellent in every detail.”

On May 20, 1896, The Minneapolis Journal described Hurtt’s contribution, reporting, “Most interesting of all, under the circumstances, will be a reproduction, under Arthur Hurtt, of the best works of Fjelde, with living models. The living pictures, for such they will be in fact, will be illuminated by a 10,000-candle power light and will be very beautiful” (p. 13). As previously mentioned, Fjelde sculpted the bust of Hurtt’s mother.

That summer Hurtt expanded on the scope of his entertainment. He placed an advertisement on July 1, 1896, in the Minneapolis Daily Times advertising, “WANTED – Girls to pose for living pictures; professional models preferred; one small child, 3 or 4 yrs. old, to represent Cupid. Apply to Arthur Hurtt as stage door, Bijou opera house. Tuesday, 3 p.m.” (p. 7). Hurtt was in the process of creating a new entertainment. On Sept. 5, 1896, the Star Tribune “Arthur Hurtt’s Living Pictures at the Metropolitan.”

Another description of Hurtt’s “Living Pictures” was published in The Minneapolis Journal on Aug. 21, 1896 (p. 5). Here is the article:

“The living pictures presented at Lake Park last night by Arthur Hurtt’s company were a great success artistically and proved an excellent drawing card. The stage arrangements were very complete and satisfactory, although the preparation had entailed a large amount of work, and the lighting was perfect. Many of the pictures were shown in half a dozen different lights, greatly enhancing the interest and artistic effect. A large number of pictures were shown, nearly all being reproductions of famous and familiar paintings. Each was accompanied by suitable musical selections by the orchestra. The pictures were carefully and gracefully posed and were the best exhibition of the kind ever shown in this part of the country, Many of them were encored. Among the pictures shown were Joan of Arc, Psyches’ Mirror, The Fates, Gettysburg. Cupid, Neptune’s Daughter, Diana, Sappho, Spring, Summer, Grace Darling, Hailing the Ferry, Soldier’s Farewell, and Sweethearts. Miss Carrie Millward gave two admirably rendered coronet solos and Miss Lizzie McKeever sang several popular songs in a very fetching manner, which brought enthusiastic recalls. The big laugh of the evening, however, was when the curtain drew back revealing the round form of a “little Jimmy” posed as Dan Cupid with white wings and bow and arrows making a desperate and successful attempt to keep his face straight. The exhibition will be continued this evening and to-morrow, with numerous changes in the program.”

Hurtt continued to show his living pictures as a vaudeville feature at the Bijou that fall (Minneapolis Daily Times 3 Sep 1896 p. 4). I was intrigued to discover that his living pictures were paired with an animatography debut at the Bijou Theatre and am including the article as is shows an interesting pairing of early film and live theatre. On Aug. 4, 1896, The Minneapolis Journal announced, “LIKE THE VITASCOPE – The Animatograph Makes Its Debut in Minneapolis” (p. 8). The article continued, “Before 200 guests of Manager Hays, the animatography was given trial at the Bijou last night. The animatography is on the lines of the vitascope, which has been on attraction in Chicago and New York recently. It is the kinetoscope principle extended to fill a stage with moving and life-like scenes. Some of the scene showed typical street sights, ocean views, factory workers, bridges and passengers crossing and recrossing. Every picture was full of life, and it needed only the noise of the street and the crowd to add every element of realism.

G. A. Henry, who superintends the production, brought the machinery and views direct from London, Eng., where they were a part of the variety show at the Alhambra. Theodore Hays has secured the American rights with Mr. Henry and is looking after the bookings in this country. The first public production may be in Minneapolis on the roof of the Guaranty Loan building.

At last night’s entertainment Arthur Hurtt produced some of his living pictures and they were rewarded with hearty applause.”

In addition to theatrical endeavors, Hurtt’s easel art was becoming increasing popular. He exhibited watercolors as part of the first spring exhibition of the Minneapolis Art League. Held at Beard’s galleries, his work was featured alongside that of Alexis Fournier, Alex Grinager, Herbjorn Gausta, Prof. Robert Koehler, E. Ofstie, Florence Wales and Miss M. E. Roberts. Of Hurtt’s works, the Minneapolis Daily Tribune reported, “Arthur Hurtt has four strong watercolors, one of an Angora cat being particularly good” (1 June 1896, p. 6). I am going to sidetrack for a moment with the Hurtt family’s love for angora cars. In 1907, their 3-mths. Old angora cat, named Punk, even made the news.

On Sept. 1, 1907, the Star Tribune announced, “Remarkable ‘Puss’ Drinks From Babe’s Nursing Bottle.” The article continued, “’Punk,’ the talented cat belonging to Mrs. Arthur R. Hurtt, wife of the well known scenic artist, is almost human. He is a frisky little three-months-old Angora. According to his owner he is the smartest ‘baby’ for his age in all Hennepin county and can do tricks without number. One of his cutest stunts and one which he must enjoys is to hold a nursing bottle in his pows [sic.] and immediately get away with the contents of the bottle. While performing this favorite pastime The Tribune photographer caught him. Punk is the son of a full blood Angora cat that survived the San Francisco earthquake” (page 17).

Hurtt’s cat, Punk, featured in the Star Tribune, 1907.

Another picture of Hurtt’s cat, Punk, featured in the Star Tribune, 1907.

In 1897, Hurtt continued to travel for work, even venturing into Canada. That year he delivered a drop curtain to the New Winnipeg Theatre.

Hurtt continued his association with the Bijou. Notable productions that he painted for Litt in 1897 and 1898 include “Under Martial Law,” “The Showman’s Daughter,” “Matilda,” and “Mistakes Will Happen.” His association with the Bijou continued to be listed in the 1897 and 1898 Minneapolis Directories:

“Hurtt, Arthur R., scenic artist, Bijou Opera House, r w s 39th av s nw 49th.”

Other projects in 1898 included “Murray and Mack’s Finnigan’s Ball,” “On the Swannee River,” “Elsie DeTourney’s Joan of Arc,” and “Prisoner of Spain.” After the 1897-1898 season closed, Hurtt opened his own studio, placing advertisement in local newspapers. On 31 Jul 1898 Minneapolis Daily Tribune “SCENERY of all kinds. Studio, 215 Hennepin av, the only place of the kind in the northwest Arthur Hurtt, scenic artist” (p. 15).

Hurtt advertisement from Dec. 19, 1899 Minneapolis Daily Times.

On Dec. 19, 1899, Hurtt advertised in the Minneapolis Daily Times: “Scenery for opera houses, halls and secret orders, Arthur R. Hurtt 215 Hennepin, Mpls.” (p. 6).

From the Waszut-Barrett Theatre Collection.

Hurtt’s success prompted a residential move. In 1899, the Hurtt family moved to the Minnehaha Falls neighborhood. That summer, Hurtt hosted the wedding of his younger sister, Martha Charlotte Hurtt to Everett Grey Loring at their new home, 4840 39th Ave. S. The Hurtt’s new home was described in the Star Tribune on Aug. 20, 1899 (p. 14): “Mr. Hurtt’s home is situated on a hill overlooking Minnehaha creek as it winds among the trees, and it provided a lovely setting for a happy event.”

On Feb. 4, 1899, The Minneapolis Journal reported, “The enterprising residents of the Minnehaha Falls District who have built Hiawatha Hall for themselves as the center for the literary, dramatic and social affairs of the suburb, find themselves the objects of many congratulations, not only on this account of the building itself, but because of the artistic drop curtain which Arthur Hurtt, the scenic artist, has supplied for the stage Mr. Hurtt lives on Minnehaha creek, and his environment was therefore well suited to inspire him for his subject. The photograph reproduced herewith gives an excellent idea of his treatment of the subject. The figures were painted from studies made from life in Mr. Hurtt’s studio. The canoe is from the real thing owned by the artist. The scene is on the creek above the falls at the point where Mr. Hurtt has built a rustic bridge near his house. The background is made up of masses of rich greens with a pretty bit of distance. Characteristic birches line the banks, and a deer may be seen peering through the foliage on the opposite shore. The picture is drapes at the top with deerskin fringed in Indiana fashion, and at the top left-hand corner hang beadwork, Indian relics and trophies. A scroll pattern of unique design borders the bottom and sides of the picture, with a strip of gold next to the latter. The whole effect is thus in keeping with the subject and the environment of Hiawatha Hall” (p. 9).

Image of Hurtt’s drop curtain in the Minneapolis Journal, 1899.

On June 25, 1899, The Saint Paul Globe reported, “Among the most expensive of the improvements is the construction, under the direction of W. K. Brown, of a new and commodious stage in the large pavilion, complete with all the requirements and including a complete equipment of scenery and a most elaborate drop curtain from the brush of Arthur Hurtt, the scenic artist” (p. 28). Hurtt was also credited with Minneapolis’ Metropolitan Opera House and the St. Paul Metropolitan that year (Star Tribune 6 Aug 1899, p. 24).

Hurtt’s life and career constantly made news at the end of the nineteenth century. There are so many articles about his scenic work; simply too many to include in this post.

However, one really caught my eye. It was quite unique that places Hurtt in a different light, yet gives insight into his personality and character.

On March 15, 1898, the Minneapolis Daily Times announced, “Arthur Hurtt Tells of Moshik’s Characteristics by the Lines in His Hand” (p. 5). Hurtt read palms. The article reported, “About two months ago, shortly after John Moshik had been sentenced to hang for the murder of Remie Dicharme, Arthur Hurtt, the well-known scenic artist, obtained permission from Sheriff Phillips to visit the condemns man in his cell. Mr. Hurtt is an enthusiastic cheiromant, and he desired to examine Moshik’s hand. Jailer Diffield accompanied him to the cell, and the examination was made, Moshik displaying no unwillingness.

Mr. Hurtt examined the hand closely and took a print of it. He told Moshik of various incidents in his past life, and in every case his statements were corroborated by the man who, next Friday, is to pay the penalty of his crime upon the gallows.

He continued uninterrupted until he told of Moshik’s having rescued from drowning a few years ago.

“You told him that,” cried Moshik excitedly, turning to Jailer Duffield. “You are the only man who knew anything about it. It didn’t happen here, but I told you about it and you told him.”

He was assured that the two men had never met before, and form that time on dwelt with increased interest on what Hurtt told him. He had been forced to believe in what seemed to him miraculous knowledge of the man before him.

As already stated, this examination was made some two months ago, a fact which Jailer Duffield will corroborate, and perhaps the most remarkable thing which was disclosed was Mr. Hurtt’s opinion, expressed at that time, that Moshik would commit suicide about March 10. He warned Duffield that if great care was not taken the man would never live to be hanged. On March 8 Moshik took a spoon which he had sharpened for the purpose and attempted to sever the artery in his wrist, as already reported in The Times. Mr. Hurtt had been mistaken by just two days.

At the close of the examination Moshik asked:

“Do you think they are going to hang me?”

“I don’t see anything in your hand to indicate it,” responded Mr. Hurtt ambiguously.

“I don’t think so either,” responded the murderer, laughing. “I guess it’s all a joke.”

To a Times reporter, Hurtt said yesterday:

“When I examined Moshik’s hand there was nothing there to tell me that he was to be executed, but there was a line which said he was to die in prison, and another which announced it would likely be by his own hand. It is quite possible, however, that if I were to make the examination to-day I would find that the hand would tell me of his execution. The lines change rapidly, you know. It was merely an accident that the man did not kill himself. The intention was there. He simply did not know how to go about it; that’s all.”

For the purpose of better calling attention to Moshik’s peculiarities, Mr. Hurtt has contrasted his hand with that of Kelly, a murderer who was executed last year. Mr. Hurtt’s diagnosis of the two hands follows, just as he himself prepared it, shortly after the examination. The picture of Kelly’s hand was taken after execution:

“We have here two hands of two distinct classes of murderers: In the case of Kelly, executed March 1897, the hand of an impulsive, brutal nature. Note the thick, short fingers and thumb. The whole aspect of the hand impresses an intelligent mind as being thoroughly bad. Quite different is the hand of Moshik. This is the hand of a very unlucky man, not alone because of the fact that he was sentenced to hang. No matter what station in life or in what environments, he would have been with such a hand, an unlucky person – unlucky in whatever he undertook, sure to get the worst of it, as the phrase goes. Susceptible and easily influenced by those around him, he came into the world delicate in both mind and body. His mother was insane at the time of his birth and the headline shows that he has inherited insanity, and that this insanity will show itself at times under certain conditions, such as excitement or rage. However, the palm is pink in color, which denoted a bright, sanguine and hopeful nature. His is a rather square palm, with fingers a little mixed. He is versatile, has a considerable amount of mechanical skill and had he not been so unfortunate as to. Be thrown into a channel of life that he was, he would naturally have been polite, neat in dress, and punctual. Inapt in the professions, governed by the sciences, the owners of such hands excel in negotiation, They are industrious and industrial.

“The following are some of the principle events of his past life as shown in his hands, and which no doubt can be verified by Moshik himself. He was quite ill at the age of 5, nearly died with a fever at twelve and was sick again at 15. The different dates of imprisonment are indefinite but show that he spent just half of his life in prison. One term of nearly half a year was for a crime of which he was innocent. At the age of 20 his mind was at ease for about nine months, for at that time he had his liberty. A few years ago he came to near being drowned by attempting to rescue a drowning woman. He has some affection of the heart, as the line of his heart shows. He has loved a woman who has dark hair, dark eyes and is of medium height. He was engaged to be married, but the engagement was broken by another term of imprisonment, where he was terribly injured in the head.

“Kelly’s execution could have been foretold two or three years in advance of the event as the tendencies grew in that direction, and in his hand taken after death his execution is marked in no less than seven ways. But strange to say, Moshik, although under sentence of death, shows only the danger of execution, however, a certain sign in his hand says that he will die in prison.”

The following year, Hurtt made news again when the passing of Jim Knight made newspapers. On Sept. 23, 1900, the Minneapolis Daily Times announced, “Fall Hermit Passes Away. Demise of the Well-Known Character. ‘Mississippi Jim’ Dies at Hospital” (p. 11). The article began with “James Knight, better known as ‘Mississippi Jim, the hermit of Minnehaha,’ died at St. Mary’s Hospital yesterday, he was 70 years of age.” Of note, a paragraph reported, “Old Jim was found at death’s door two years ago by Arthur Hurtt, scenic artist. He discovered the old man on his bed, in a semi-unconscious sate but managed to resuscitate him.”  This account, combined with several others paint Hurtt as an empathetic and kind individual, willing to not only help, but understand those in need.

For the most part, Hurtt’s public presence in newspapers during the late-nineteenth century was primarily contained to Minnesota. In 1900, however, there was a subtle shift as Hurtt’s activities became recognized in neighboring states, including Iowa.

Hurtt’s drop curtain for the Pavilion Stage at Wildwood was also featured in The Saint Paul Globe on July 17, 1899 (p. 8)

Image of Hurtt’s drop curtain in The Saint Paul Globe, 1899.

On Oct. 21, 1900, the Minneapolis Daily Times reported, “Mr. Hurtt was born in Wisconsin less than forty years ago. His mother, a Virginian, was an artist and a lady of refinement. His father was a native of Massachusetts. Mr. Hurtt, when a wee toddler, used to climb up beside the table where the cook was kneading bread and imprint, with his baby finger, faces in the dough and draw on the kitchen floor attempts at pictures with a bit of coal. All through his boyhood he experimented with brushes and colors, and beginning in 1878 he devoted himself to fine art and has been a student in some of the best schools in the country. He accompanied his serious study with scene painting, which is a great school of itself, and thus he has had more than twenty years of experience in scene painting and stage decoration. In his scenic work he is considered to excel in foliage and landscape. That Mr. Hurtt is a man of vaudeville gifts is acknowledged. He studied architecture two years, and his pretty home in Minnehaha park was built under his supervision form plans and specifications made by himself. His drawings and studies of foliage and figures have been published in lithograph and are found in nearly all art stores and are much used by art students. Says the St. Louis Star: “Arthur Hurtt, the scenic artist formerly of this city, is one of the best young artists in the country. His foliage and figure painting being exceptionally fine.” He paints stationary stage scenery and drop curtains for opera houses and his work is also in demand by the great traveling star companies; but few of those visiting Minneapolis are without several scenes painted by Arthur Hurtt. The portrait accompanying this sketch represents him as he looks to-day – a very young man to be called “the father of art in Minneapolis,” but he was here before Douglas Volk came and was inspiration and help to Alexis Fournier when that now rising artist was a struggling student. Mr. Hurtt is proud of Minneapolis but the part of it dearest to him is the vicinity of his home – the beautiful park, Minnehaha creek, the glen, the old houses of some of his neighbors which are not less historic landmarks than are Minnehaha falls, the theme of legend and song. Mr. Hurtt travels widely. His scenic work is found in all parts of the country and everywhere he goes, goes the good work for the honored city of his adoption. He could give The Times but a brief interview; he was just home from a three months’ engagement at Des Moines and was starting out on another trip to keep him away six week. It is needless to follow Mr. Hurtt’s professional career. That he has been successful in owning his faithful, conscientious and steady application not less than to his natural ability His whole life has been influenced by stage art and though he is a picture painter in oils and watercolors and an illustrator of books, that which he has done most he does best and his reputation rests on his achievements in scenic art. That Minneapolis appreciates him is shown by the fact that of her theaters and opera houses five show his work. These are: People’s theater, Metropolitan Opera House, Grand Opera House, Bijou Opera House, Lyceum Theatre. From a list of other theaters and opera houses where he has painted, we select Boyd’s Opera House, Omaha; Broadway theater, New York City; World’s Theatre, Boston. From a list of stage productions extending from 1879 to 1898 he says he considers the following fair examples of his work: “Panorama of the Life of Christ, 500 life-size figures; “The Silver King.” “Hazel Kirke,” Erminie,” De Wolf Hopper’s “The Lady or the Tiger.” – Charlotte Whitcomb” (p. 24).

Reception room, studio-residence of Arthur R. Hurtt, Minnehaha Park. From the Minneapolis Daily Times 21 Oct., 1900, p 24.

The Des Moines project mentioned in the article was for thew Grand. On August 19, 1900, The Des Moines Register described Hurtt’s new drop curtain for the renovated Grand (p. 7). The article reported, “The gloomy interior has given way to light and cheerful shades, and the stage has been equipped with a complete new set of scenery of the latest design, technically known as “flipper scenery.” It can be placed wherever wanted on the stage, and does not require the use of wing grooves. The drop curtain, which was executed by Arthur Hurtt, is a remarkably strong piece of work. The subject was taken from Maurice Leloir’s famous tableau, “La Derniere Gerbe” [The Last Sheath of the Harvest].” Hurtt’s work was further described on Aug. 17, 1900, in The Des Moines Register “The subject of the drop curtain is ‘La Derniere Gerbe.’ And is from the celebrated painting of Maurice Leloir. The artist who executed the curtain, Arthur Hurtt of Minneapolis, has made a highly interesting copy, full of strength and details” (p. 3).

Of the renovation, The Des Moines Register reported, “The remodeling of the Grand opera house is now practically completed. The scenery and fittings are entirely new and render the Grand one of the prettiest houses in the state. The painting and frescoing were done by Arthur Hurtt of Minneapolis, while several of the curtains were made in New York” (16 Aug 1900, p. 3).

Link to illustration: https://upload.wikimedia.org/wikipedia/commons/b/b1/Leloir_La_derniere_gerbe_1883.jpg

Amazingly, I located a watercolor painting from 1890 of the same composition on Pinterest (no citation). Here is the link: https://i.pinimg.com/originals/e2/11/bb/e211bb797a83eda910af9422ea5eed6b.jpg

He was also making headway on a national front. On March 11, 1901, The Minneapolis Journal announced, “Arthur Hurtt Goes Abroad. Arthur Hurtt, the Minneapolis scenic artist, has been honored by being chosen as the representative of the American Association of Scenic Artists in the international association. He sailed for Paris on the Vaterland last Wednesday from New York. He will visit Germany, Switzerland, Italy and Norway in the interests of his art and will return about June 1. Mrs. Hurtt accompanies him” (p. 6). He returned to Minnesota on May 25. His return was published in the newspaper the very next day. On May 26, 1901, the Star Tribune announced, “Arthur M. Hurtt Returns from Extended Foreign Trip Where He Saw and Studied Much That is Valuable” (p. 7). The article reported, “the Minneapolis scenic artist returned yesterday morning, with Mrs. Hurtt from a three months’ trip through France, Belgium, and England. On the way back they stopped by the Pan-American Exposition, which in point of illumination and some other respects Mr. Hurtt says is truly remarkable. While abroad the artist was sketching, spending most of his time in and about Paris. He admires the beauty of the regal city as only an artist could, but he is still true to his colors, nevertheless, for he says the French women are not ‘in it’ with the American-made article.” Hurtt then proceeded to critique current Parisian dress.

On Jun 1, 1901, The Minneapolis Journal published an article announcing, “Minneapolis Artists Win Salon Laurels, Burt Harwood and Alexis Fourier Have Four Canvases Accepted for the Paris Salon” (p. 11). The article began, “There were 7,000 pictures entered at the Paris Salon for exhibition this spring, and of this 7,000 only 300 could be accepted, and of that possible 300 acceptances four came to Minneapolis men.” Hurtt was visiting Paris prior to the exhibition. His stay was mentioned: “Mr. Hurtt admired them himself and heard them highly praised by others…Mr. and Mrs. Hurtt were in Paris several weeks and saw the Minneapolitans resident there. Mr. Fournier was in the same hotel with them. Max Bohm and Mrs. Bohm (nee Miss Newcomb) had just returned from a two-month’s absence in Italy, and are at the Grand Hotel, Rue de Lambre.” His international role was recalled the following year when he began working for Lee Lash Studios in New York. Although

Hurtt was also associated with the Twin City Scenic Co. between 1902 to 1904. However, he never stayed with any one studio for long. His connection with both Sosman & Landis and Twin City Scenic Co. set a precedent for his relationship with Lee Lash Scenic Studio in New York.

On July 25, 1902, the Star Tribune announced, “Drawings for a Minneapolis Opera.” The article reported, “Arthur Hurtt, the scenic artist who was the representative at Paris of the American artists, has left Minneapolis for New York, where he goes to fulfil a three month’s contract with Lee Lash Company, scenic painters, at Thirty-ninth and Broadway. Mr. Hurtt takes with him the drawings and models for the scenes to the Madden-Day opera, ‘Niorada,’ and also the schemes for the three acts of ‘The Newest Woman,’ a new comedy by Oscar F. G. Day. Mr. Hurtt will meet Mr. Madden in New York” (p. 6). Hurtt sporadically worked for Lash until 1904.

Hurtt, like many scenic artists, not only painted scenery for theater stages, but also painted scenery for a variety of public displays. In 1904, he designed a panorama for the World Fair in St. Louis, Missouri.

On May 3, 1904, The Minneapolis Journal, published an article announcing, “A Realistic Panorama of Twin Cities and Fort. The Work, Partly Modeled and Partly Painted, Will Be an Important Feature of the Twin City Exhibit at the St. Louis Exposition.” A photograph of the work was included with the following article: “Minneapolis, St. Paul and Fort Snelling have been presented in a panorama which will probably attract the attention of thousands at the Louisiana Purchase exposition at St. Louis. The big canvas and the carefully modeled foreground was the work of the Twin City Scenic studio, located in the Bijou theater. The greater part of the drawing and work was done by Arthur Hurtt, a Minneapolis scenic artist. When properly illuminated, the panorama will be a beautiful one. In the foreground is a carefully modeled presentment of the Fort Snelling bluff and fort. The bridge across the Mississippi river at this point is faithfully reproduced in miniature and extends back to the canvas of the semi-circular panorama. As one faces the work, Minneapolis is seen in the distance to the left. The river winds down the canvas to hide itself behind the bluff of Fort Snelling in the foreground. It reappears to the right and takes a turn toward St. Paul. The curve is carried out with absolute fidelity to detail, and to the right the saintly city can be discerned. The whole color scheme is calculated to withstand the glow of numberless electric lights which will be concealed behind the model of Fort Snelling. This illumination gives the effects of great depth and distance, and in this feature the artist has done some remarkable work. The background is semicircular in form and requires great care in drawing and coloring. A Mistake in the slightest detail would have spoiled the perspective of the entire undertaking, but it has been successfully carried out. Those who were permitted to see the panorama in its unfinished condition, or, rather, without its hood, are anxious to see it after it has been prepared for the exhibition at St. Louis. The panorama will go in the Twin City pavilion at the St. Louis Fair. It was ordered by the joint committee of the two cities and is to be paid for from the funds raised in the two cities for advertising purposes at the exposition. The panorama was taken down and shipped to St. Louis, Monday, and will be in place on opening day” (p. 11).

Hurtt’s Panorama for the St. Louis Exposition, 1904.

Like many midwestern artists, Hurtt began accepting West Coast projects when the weather turned cold, spending winters in Los Angeles from 1904-1906. He was tentatively planning a move.

Over the course of the next few years as Hurtt continued to gain national recognition.  He continued to work from coast to coast. In January, his scenery for “The Sorceress” at the Temple Auditorium in Glendale, California, made the papers. On Jan 27, 1907, The Los Angeles Times featured a scene from “The Sorceress” (p. 79).

The caption read: “Mr. Ferris will revive this brilliant spectacle-play, this week, at the Auditorium. Miss Stone, who, of course, will play the title role, is especially adapted to the part, and is said to have scored unusual success in it in the east. Mr. Robson will be seen as Don Enrique, for him a congenial sort of character. The management promises, as far as scenery and costumes are concerned, a production of unusual splendor and effectiveness. The principal scenic artist, Arthur R. Hurtt, did most unusual work for “The Holy City” and has been preparing this setting for a long time.”

Hurtt’s work at the Temple Auditorium became a career-changing project. On March 9, 1907, The Los Angeles Times reported, “Glendale. March 8 – Arthur Hurtt the scenic artist busily engaged at the Temple Auditorium, has completed the purchase of a site upon which he intends to establish and art studio” (p. 24).

Jess D. Bonner pictured in the article.

Here is my post about Bonner:

Near the end of the year, Hurtt again made news in Los Angeles newspapers. He was called in to assist 28-yrs. old scenic artist Jess D. Bonner (1879-1914), painting four drops for “Sign of the Cross,” at the Auditorium. On December 8, 1907, the Los Angeles Herald reported, “There are fourteen scenes in this four-act play, and Mr. Bonner was called upon to turn them out in eleven days’ time. He has one assistant regularly employed – Maurice Tuttle – and a paint boy to help him. For ‘The Sign of the Cross’ production there was a total of 30,000 square feet of canvas to be covered and the task was too great. Consequently, Arthur Hurtt was called upon to assist, and Mr. Hurtt painted four drops, which will be shown for the first time tomorrow night. These drops contain about 1500 square feet of canvas each, leaving some 24,000 feet to be painted by Mr. Bonner and his assistant.” The entire article was primarily about Bonner but mention of Hurtt shows that he had remained in California for most of 1907. At the time he was 46 yrs. old, his wife was 41 yrs. old, and his adopted daughter was 17 yrs. old.

Although he continued to be listed in the Minneapolis Directory for 1908 and 1909, Hurtt established a new home at 1518 Mohawk in Los Angeles by 1910.

This remained Hurtt’s permanent residence for the remainder of his career. It was a good choice, as by 1920, his next-door neighbor was another former Sosman & Landis artist, Fitch Fulton. Although much older than his neighbor, Hurtt shared many of the same Midwestern connections as his neighbor.

Although Hurtt continued to be listed as a scenic artist in LA Directories, his easel art remained a constant in various gallery exhibitions. He even received a bronze medal at the Southern California Art Exhibition, Southern California Panama Exposition, 1915 San Diego. In 1918 he was included in the publication “Who’s Who in Art,” listed as an illustrator with a brief biography:

Hurtt, Arthur R., 1518 Mohawk St. Los Angeles, CA.

P., L.- Born in Wisconsin, Oct 31, 1861

Pupil of Douglas Volk. Member: Cal. AC. Award: Bronze medal, Pan-Cal. Exp., San Diego, 1915” (p. 519). Other former scenic Sosman & Landis scenic artists in the publication included: Thomas G. Moses P. Member, Walter C. Hartson, Frank C. Peyraud, and Victor Higgins.

Concerning Hurtt’s scenic work in California, he became associated with E. H. Flagg. Both his 1916 and 1918 LA Directory listing noted E. H. Flagg Scenic Co. as his employer. I have written about this well-known firm in the past, as several former Sosman & Landis employees also worked for Flagg over the years.

Edwin H. Flagg, from March 12, 1919, Los Angeles Evening Post.

1921 advertisement for Flagg’s studio.

There is much of Hurtt’s Californian life and career that remains unknown. I have also yet to locate anything about his adopted daughter after 1904. What I do know is that Hurtt passed away in relative obscurity.  After living a life where so many adventures published in the news, his obituary was quite brief.

On 11 Jan 1938 The Los Angeles Times announced: “HURTT, At 1518 Mohawk street, Arthur R, Hurtt, beloved husband of Winifred Hurtt. Funeral services today at 10 a.m. from the chapel of W. A. Brown, 1815 South Flower street” (p. 40)

Although a few of Hurtt’s artworks are listed in online sales, there are precious few examples of his painting. This is what makes his street scene so very significant. It is likely the last remaining example of Hurtt’s scenic art legacy.

To be continued…

Travels of a Scenic Artist and Scholar. The Theatre Museum of Repertoire Americana, Mt. Pleasant, Iowa, Jan. 7-15, 2024.

Copyright © 2024 by Wendy Waszut-Barrett

The Theatre Museum of Repertoire Americana when we left work on January 13, 2024.

On January 7, 2024, I drove from Minneapolis, Minnesota, to Mt. Pleasant, Iowa. My project was to catalogue a portion of the vast scenery collection at the Theatre Museum of Repertoire Americana. Located in southeastern Iowa, this unique museum is “dedicated to the preservation of memorabilia and artifacts of early repertoire theatre.”

Here is a link to their website http://thetheatremuseum.com/

The Theatre Museum resulted from a memorabilia exhibit displayed at the Midwest Old Threshers Reunion and Iowa Wesleyan College in 1970. Local enthusiasm fueled discussions to build a Theatre Museum on Old Thresher Reunion show grounds. On September 1, 1973, the Theatre Museum of Repertoire Americana was dedicated, and is currently situated at the north end of the show grounds. I. must mention that most of the credit for this entire endeavor goes to the promotional efforts of Caroline Schaffner (Neil & Caroline Schaffner Players), Jimmy Davis (6-yrs. member and 35-yrs. owner of the Schaffner Players), Helen Virden, and Joe Mauck.

The exterior of the Theatre Musuem is intended to simulate a nineteenth-century opera house.

My photograph of the Theatre Museum Building, March 2017.

Over the years, a variety of theatre artifacts were donated to the museum, necessitating two major renovations. In 2000, the Caroline Schaffner Research Library was added to the building. This archival space is packed full of rare scripts, correspondence, tour schedules, production photos, and a large collection of videotaped interviews with performers describing their touring experiences.

There is much, much more to discuss about the Theatre Museum’s origin, but I am going to pause here.

Displays at the Theatre Museum include a variety of scenery, costumes, machinery, touring trunks, play bills, show cards, advertising sheets, playbills, musical instruments, and more. Here are a few photographs of museum displays from my most recent visit.

Display cases in front of two 1875 shutters painted by Harry Dressel for Steyer’s Opera House in Decorah, Iowa.

Interior book flat delivered by Iowa scenic artist Jesse Cox in front of an Ad Drop painted by Iowa scenic artist Hugh Lanning (for the Blakesburg Opera House) in 1905.

There are many aspects that make this museum that make it internationally significant. However, it is their association with the Midwest Old Threshers Reunion (Old Threshers) that I find the most remarkable.

To clarify this relationship: Old Threshers owns the museum, but it is run by a museum board.

(Click here for more information about the upcoming Reunion)

Now you may wonder, “What is an old threshers reunion?”  Let’s start with a thresher. A thresher, or threshing machine, beats the kernels from grain heads. This is a necessary step in the process of preparing grain for market. In the Midwest, many farmers gathered their resources to hire a threshing machine at harvest time. Threshing was an annual, or bi-annual, affair (depending on region) that gathered communities together for a common purpose. The result of their labors made it possible to ship large amounts of grain to flour mills and other processing plants across the country. For those who want to know about the evolution of the thresher, here is a link: https://www.farmcollector.com/steam-traction/evolution-of-the-thresher/

A Minneapolis Threshing Machine in front of chaff (the covering and other debris separated from the kernal when threshing grain).

Harnessing a steam engine’s power.

Although this is a far cry from current agricultural practices, it marked a culturally significant events for farmers. Threshing reunions celebrate agricultural technology from the nineteenth-century through mid-twentieth century. In addition to tractors and farming equipment these shows feature other aspects of farm life, including innovative technology and cultural artifacts from metropolitan areas too.

Also referred to a “steam shows,” the main feature are rows of tractors, with the earliest examples powered by steam. There is nothing quite like watching a massive steam tractor slowly puff across a field or power a threshing machine. It is a multi-sensory experience that instantaneously transports you back to another time and place. It provides contexts for all those American History classes that examined rural communities. If the show grounds include a steam engine that puffs along on a few miles of track, old-time music, vintage-clothing style show, it is magical.

I have been a member of the Western Minnesota Steam Threshers Reunion (WMSTR) since 1972. Here is their link and a few pictures from 2023: https://rollag.com/

My son and mother playing music in the WMSTR mercantile building, 2023.

My dad and husband working as conductors on the 353.

My dad has been the WMSTR Hobo for three decades.

Sadly, both WMSTR and the Midwest Old Threshers hold their reunions at the same time – on Labor Day Weekend.

Threshing shows are extremely affordable, with a four-day pass costing approximately $30.00. Both volunteers and visitors often camp on, or near, the show grounds for the entire event. This creates a tight-knit community over the years, fostering many life-long friendships.

Threshing shows offer something for everyone in the family, but the inclusion of a theatre museum makes the Midwest Old Threshers Reunion unique.  As in days past, the museum offers respite to those weary from spending the day outside. In fact, it is a natural pairing that many fail to realize; the bringing of theatrical entertainment to rural activities.

As America’s network of transportation expanded throughout the second half of the nineteenth century, performance venues rapidly appeared throughout the Midwestern States and Western Territories. Scenery was delivered to stages in buildings titled Opera House, Opera Hall, Academy of Music, Museum, and Atheneum. Town halls, city halls, lodge rooms, saloons, and academic institutions. These spaces included stages, often with complete sets of scenery. The construction of a stage, regardless of the building’s name, signaled the success of a rural community. It signified that there was a social space to not only host a variety of community events, but also serve the needs of touring entertainments. For farming families, it was an opportunity to connect with their neighbors and in-town residents. Overall, it fostered the sense of community and provided a network of support for many individuals otherwise isolated on distant homesteads.

The Theatre Museum’s scenery collection includes scenery dating as early as 1875.  Painted compositions for the stage feature the works of many well-known studios, including Sosman & Landis, Kansas City Scenic Co., Twin City Scenic Company, Joy & Cannon Scenic Company, and Universal Scenic Company. Some pieces are even signed and dated, signifying the only surviving scenic artworks by well-known scenic artist’s Arthur R. Hurtt and Harry Dressel. There is also an extensive collection of the Diamond Dye scenery painted Jesse Cox, founder of Cox Scenic Studios in Estherville, Iowa. The Theatre Museum of Repertoire Americana houses the greatest variety of late-nineteenth century and early-twentieth century scenery on display in North America.

Studio label on back of a drop recently documented at the Theatre Museum of Repertoire Americana.

Jesse Cox’s paint table on display in front of a dye drop.

During my stay, I documented far more than 50 drops, and there are dozens of wings and interior flats to go, with some dating as early as 1875. Despite, two blizzards and sub-zero temperatures, the trip was extremely successful.  Keep in mind, that I was born and raised in Minnesota. I am very familiar with driving in near white-out conditions and have snow tires on my car. However, I am always hesitant to put myself in harm’s way on a winter road.

On Sunday, January 7, 2024, I drove from Minneapolis, MN, to the home of my host in Washington, Iowa, where I stayed at the home of Theatre Museum president, Monie Hayes.

He was my timeline for the week:

Day 1: On Monday, January 8, we both drove the 40-min. trip to Mt. pleasant, Iowa. That day we were able to unroll and document ten drops. Our primary focus was unlabeled scenery stored in the basement, above the stage and on the walls. The basement of the museum is another display area with small stage.

Day 2: On Tuesday, January 9, the first blizzard hit, dumping about 15” of snow where I was staying. It was an intense storm system that paused and spiraled around Washington. We called work off for that day, so I started compiling my report. Sadly, this delay meant extending my stay.

Screen shot of my weather app radar on Jan. 9, 2024.

Day 3: On Wednesday, January 10, I drove down the Mt. Pleasant, where we repeated the process, slowly unrolling, or unfolding, one scene at a time.

Day 4: On Thursday, January 11, I relocated to the home of another board members, Leigh Bradley, in Mt. Pleasant. I needed to be in town and not commute 40 minutes to an from the job site. My decision was based on the forecast of another blizzard. This storm was now combined with sub-zero temperatures. Iowa had again issued a no-tow order, meaning that travel was at your own risk; tow trucks would not be sent out to rescue stranded cars. As I was now staying only a few miles away from the Museum, we continued cataloguing scenery.  The second storm was scheduled to start at 9PM that evening. After work, we all headed out to dinner at a local restaurant. These are the moments that make everything worthwhile; getting to know the people who are passionate about preserving there scenery collection.

Part of the week-long team included Richard Finkelstein. He had driven 14 hours to join me on site and photograph this remarkable collection.  As always, I am amazed with Richard’s talent, knowledge, and generosity.  It was such a delight to work with him again. Our last project was at the Scottish Rite in Richmond, Virginia when I packed up and moved that Masonic scenery collection to Tucson, Arizona, in January 2021.

Richard Finkelstein working at the Theatre Museum of Repertoire Americana.

Wendy Waszut-Barrett and Richard Finklestein at the Theatre Museum of Repertoire Americana.

Our workspace in the basement. Platforms and chairs were moved in the auditorium to lay out the backdrops.

Signature on corner of a Front Curtain (shown above), painted at the Twin City Scenic Co. in 1915.

Days 5 and 6: The back-to-back winter storm and second blizzard warnings for January 12 and 13 meant that there were only two volunteers who could show up. In many ways, these were my two favorite days on site.

Day 7: By Sunday morning, I recognized that I was going to be stranded in Mt. Pleasant another day. Again, there was a no-tow order, and I was unwilling to chance the 5-hrs. drive north; some roads were still impassible due to snow and ice.

Day 8: In the end, I left early Monday morning, and made it home by late afternoon. The anticipated 5-hrs. drive lasted much longer due to poor road conditions and slow speeds.

Iowa roads after the storms on January 15, 2024.

Here are a few images from my adventure.

1875 Shutter painted by Chicago scenic artist, Harry Dressel, for Steyer’s Opera House in Decorah, Iowa.

Detail from a drawing on the backside of Dressel’s shutter.

Detail of Grand Drapery Border paint by Sosman & Landis Scenic Studio, delivered to Mineral Point, Wisconsin.

Painted detail from dye drop painted by Jesse Cox of Estherville, Iowa.

Painted detail from dye drop painted by Jesse Cox of Estherville, Iowa.

Painted detail delivered the the Quoque Community Hall in Long Island, New York.

Painted detail by Sosman & Lanids studio artists for the ZCBJ Lodge Hall Front Curtain in Oxford Junction, Iowa.

Painted detail from a “Yankee Doodle” scene used by the Jack & Maude Brooks Stock Co.

Painted detail from a 1918 Ad Drop.

Stage screw and stage jack on display the the Theatre Museum of Repertoire Americana.

Border lights from the Blakesburg Opera House on display at the Theatre Museum.

The next few posts will explore some of the more significant scenery in the collection, starting with Arthur R. Hurtt’s street scene. I am posting some of my research while I complete condition reports, replacement appraisals, and a Collections Care Management document for the Theatre Museum of Repertoire Americana. In an effort to generate support for the Theatre Museum, I will share some of the most significant artifacts in the scenery collection.

Please consider becoming a member of the Theatre Museum. The annual fee is only $20 ($15 for students). Your support sends a message to the Midwest Old Thresher’s Reunion and the Mt. Pleasant Community that the Theatre Museum is important and should remain open. Here is the link to contribute: http://thetheatremuseum.com/membership

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre.  The Grant Panorama Company and Scene Painters Show in 1885

Copyright © 2023 by Wendy Waszut-Barrett

The spring of 1885 to the spring of 1886 was a significant period in the development of Sosman & Landis. They not only constructed a new studio building, but also diversified their business interests, establishing a panorama company. For the next decade Sosman and Landis tried their hand a variety of businesses, including lighting equipment, theatrical management, stock companies, and pottery.

Location

The studio building that Sosman & Landis leased in 1879 was located at 277 and 279 South Clark Street. They rented space alongside many other tenants in a large building at the northeast corner of Clark and Van Buren streets.  They were situated one block east of the Rock Island Depot and two blocks north of the Dearborn Station, as well as being near two public transit lines.

There were a variety of nearby entertainment venues, employing dozens of scenic artists. Theaters located just a few blocks to the north of the studio included Haverly’s Theatre, McVicker’s, Hooley’s, the Chicago Opera House, the Grand Opera House, and the Olympic Theater. A few blocks to the south was the People’s Theatre and Park Theatre.  Three panorama buildings were also nearby. Two were a few blocks southeast of the Sosman & Landis studio: the Battle of Gettysburg in the National building and the Siege of Paris in the American Panorama Building. The third panorama was a few blocks northeast of the studio. The Battle of Shiloh was featured in the newly-constructed World Panorama building on Michigan Ave.

To the north of Sosman & Landis’ Clark Street Studio.

To the south of Sosman & Landis’ Clark Street Studio.

The Popularity of Panoramas

I am going to briefly touch on these three panoramas that were delivered between 1883 and 1885, as they were likely the instigator for Sosman and Landis to establish the Grant Panorama company. The most popular subject matter in the United States quickly became Civil War subject matter.  From a timing perspective, we are twenty-two years away tragic events of 9/11 in 2001. 1885 was twenty-two years away from the height of the Civil War. Both were still in the forefront of public memory for many Americans.

In 1879, a group of Chicago investors commissioned Paul Philippoteaux to create a Battle of Gettysburg panorama. This is the same year that Sosman & Landis moved to their studio on Clark Street. City residents were familiar with Philippoteaux’s work, as “Paris by Moonlight” had been exhibited in Chicago in 1875 (Chicago Tribune 21 Oct 1883, page 4).  It took four years from conception to the opening of the Battle of Gettysburg panorama. In the fall of 1883, advertisements credited the work to Philippoteaux, Joseph Bertrand, and Lucien Sargent. The panorama’s popularity soon prompted another Philippoteaux panorama. On June 20, 1884, the Siege of Paris opened across the street from his Battle of Gettysburg (Inter Ocean 20 June 1884, page 8).

The two panorama buildings that once house the Battle of Gettysburg and Siege of Paris. Link to 1890 image posted to Chicagology: https://chicagology.com/?s=cyclorama

Another photograph showing the location of the two panorama buildings when facing south. Link to 1912 image posted to Chicagology: https://chicagology.com/?

A third panorama opened in Chicago the summer of 1885. Credited to French artist Théophile Poilpot (1848-1915), the Battle of Shiloh panorama’s progress continued to make newspaper headlines. On April 30 of that year the Chicago Tribune announced “Though not yet 35 years of age, [Poilpot] has visited some part over every country on the civilized globe, and his travels crossed the equator eight times. He arrived in this country last fall and went direct to ‘Hornet’s Nest,’ the scene of Shiloh, where he devoted several months to the study of the battlefield” (page 8).

Battle of Shiloh Advertisement in the Chicago Tribune on July 31, 1885.

To my surprise, I recently discovered photographs of the Battle of Shiloh Panorama Guide at rare bookseller’s website. Here is the link: https://www.jamesarsenault.com/pages/books/4947/l-b-crooker-mapmaker-f-j-mcintosh/manual-of-the-panorama-of-the-battle-of-shiloh-michigan-avenue-between-madison-and-monroe-streets?soldItem=true

On August 1, 1885, The Inter Ocean reported “The Battle of Shiloh panorama adds another splendid battle piece to Chicago’s attractions. The painting and direction of the work have been accomplished by T. Poilpot of Paris, who., thanks to the enterprise and liberality of local capital, has been given every advantage for the projection and perfection of the titanic pictures. Mr. Poilpot is an artist who has a large experience in similar works on a large scale, having painted in Paris ‘The Taking of the Bastille;’ ‘The Charge of Reischoffen’ (franco-Russian war), and ‘Busenval’ (episodes of the siege of Paris). In London he painted the ‘Charge of Baklava;’ and in Russia, ‘The Crossing of the Danube.’ ‘The Battle of Shiloh’ is his first distinctive American work, and he is now engaged upon ‘The Battle of Manassas,’ and will shortly commence the famous marine fight of Monitor and Merrimac.” The article continues, heralding Poilpot’s skill and painted details in “The Battle of Shiloh.”

What Chicago investors realized between the summer of 1884 and 1885 was that there was much more of a demand for tickets to the Battle of Gettysburg than the Siege of Paris. Chicago residents were more interested in Civil War battles, than foreign wars.  I am going to pause here and remind readers that many of the well-known scenic artists working in Chicago at this time had fought in the Union Army during the Civil War. This included both Sosman and Landis, as well as several of their staff members.

Panoramas remained a risky investment. However, when they succeeded,  investors reaped large profits. There were a surprisingly number of panorama companies that appeared during the 1880s. By 1883, panorama companies began to pop up all over the region. On Nov. 15, 1884, the Wisconsin State Journal reported, “New Organization – The Northwestern Panorama company, of Milwaukee, filed articles of association with the secretary of state to-day, the capital stick being $25,000. The object is to give panoramas and other entertainments” (page 4). Located on Cedar Street, the firm was operated by scenic artists Louis Kindt and Thomas Gardner.

Louis Kindt’s Panorama Company

On November 17, 1884, the “Milwaukee Letter” section of Minnesota’s The Saint Paul Globe, announced, “Paul Bechtner, Otto Osthoff and Louis Kindt have incorporated the Northwestern Panorama company and will soon erect in this city a building of the same style and size as that occupied by the ‘Battle of Gettysburg,’ at Chicago. The panorama to be exhibited will be the battle of Vicksburg, with two contending armies and the gunboats on the Mississippi river. Mr. Kindt is a scenic artist and has taken sketches at the scene of the battle. He is the artist who painted the picture of the battle of Lookout Mountain, now on exhibition in the exposition building” (page 2).

Kindt had made a name for himself as a scenic artist in Wisconsin, Illinois, and Ohio, beginning in the mid-1860s. He was listed as a painter of theatrical scenery in Milwaukee, Cincinnati, and Chicago Directories. In Chicago, Kindt was employed as a scenic artist at the same time as Henry Burcky, Joseph Hart, Thomas McGann, Louis Malmsha, Ernest Pappineaux, Harry Ribbet, and J. Howard Rogers were associated with various theaters there.

In 1884, Kindt had organized a panorama company in Milwaukee, while continuing work as a scenic artist throughout the region. The size of a panorama was certainly not daunting to scenic artists. In fact, in 1890 Sosman & Landis delivered a cyclorama to the Broadway Theatre in Denver, Colorado. Of the project. Moses wrote, “I painted my first cyclorama sky backing, forty feet high and 395 feet long. There were three different skies. The cyclorama was operated from the fly gallery. We had no borders, all exterior settings were painted on set pieces which carried out the same arrangement that was used in the auditorium of Chicago

Kindt’s Siege of Vicksburg panorama was approximately this same size. Scenic studios were designed to accommodate huge panoramic pieces. Unlike a rotunda building with permanently positioned canvas, necessitating that the artists move from one scene to another. Scenic studios moved the fabric, and not the artists. It was common for a larger spool of fabric to gradually unroll. Each section was tacked to the frame and painted. This section was then released and spooled on the opposite side of the frame – like a moving panorama.  This is because the scenic artists for the theatre used distemper paint and not oil paint. Like constructing a moving panorama, distemper paint allows the fabric remained lightweight and pliable. This also means that a distemper panorama can easily be shipped from one location to another.  When panoramas were produced with oil paints, moving them becomes a logistical nightmare due to the weight.

It is no wonder that Sosman & Landis constructed a studio in 1885 that could accommodate their own version of a Grant’s Trip Around the World panorama. The footprint of their new two-story building was 44’-0”x 150’-0”.  This space could have easily accommodated the production of a panorama when shifted along the paint fame from one fabric spool to the next.

Back to Kindt’s Vicksburg panorama…

On Dec. 10, 1884, The Oshkosh Northwestern announced, “Louis Kindt, the scenic artist, formerly a resident of this city, is one of the projectors of the Northwestern Panorama Co., recently organized at Milwaukee with a paid capital of $25,000. Mr. Kindt and several other artists are now engaged on a panorama representing the siege of Vicksburg, which ended by the surrender of the city, July 4, 1863. It is 400 feet long and 36 feet high. When completed it will be placed in a new building to be erected for that purpose. Mr. Kindt has charge of the scenic work for the Opera House and Turner Hall of this city and his reputation is a guarantee of success in his undertaking. He spent some time at Vicksburg recently and no doubt will produce a life-like representation of the scene” (page 3).  I was especially interested that Kindt worked for the Oshkosh Opera House. This was the same venue that both Moses & Graham and Sosman & Landis bid on stock scenery for in 1883. Awarded to Moses & Graham, it was at this point that Moses, Lemuel L. Graham and John H. Young returned to the Sosman & Landis studio.

Interestingly, a second Northwestern Panorama Company opened the next year. On Oct. 11, 1885, The Saint Paul Globe announced, “Articles were yesterday files with the register of deeds incorporating the Northwestern Panorama company, with a capital stock of $200,000, and a liability of $5,000. The incorporators and directors are John Watson, Robert C. Kalkoff, George H. Eastman, George G. Jacoby and T. J. Buxtow as incorporators” (page 3).

The appearance of tis second firm may have been the incentive for Kindt to change the name of his panorama company from the Northwestern Panorama Company to the United States Panorama Company.  On Sept. 12, 1885, The Oshkosh Northwestern reported, “The United States Panorama Co. is breaking ground to-day on Algoma St. to exhibit the Battle of Gettysburg, painted by the well-known Mr. Louis Kindt, at one time a citizen of Oshkosh, who has also painted the battles of Vicksburg and Lookout Mountain” (page 3). Earlier, the Wisconsin State Journal had reported, “The most attractive thing at the fair this year will be the Battle of Gettysburg, brought here under great expense. This picture represents a battle of July 2nd, 1863, and is about 75 feet in length and 39 feet in height; was painted by the most skillful artists in the country under the supervision of well-known Louis Kindt, the painter of Vicksburg and Lookout Mountain. The management will save no expense in making the foreground and surroundings of the picture as natural as possible. No one should fail to see it, because without having been seen it cannot be conceived” (page 4). It is interesting to read how much smaller this panorama is from his previous one that measured 400 feet long.

Kindt’s panorama company was established shortly after German-born Chicago businessman, William Werner opened the American Panorama Company; both were in Milwaukee. During the spring of 1885, Werner staffed his panorama studio with well-known European artists. The size of Werner’s staff rivaled that at Sosman & Landis during this time.

A photograph of Werner’s staff at the American Panorama Company studio building, 1887.  Panorama artists: (from the left, standing) Franz Bilberstein, Richard Lorenz, Johannes Schulz, and Bernhard Schneider; (from the left, sitting) Wilhelm Bernhard Schroeder, Franz Rohrbeck, Friedrich Wilhelm Heine, Karl Frosch Thaddeus Zukotynski, George Peter, Amy Boos, August Lohr, and Herman Michalowski. Here is the link to the Wisconsin Historical Society image: https://www.wisconsinhistory.org/Records/Image/IM26069

Unlike Kindt, or Sosman & Landis, Werner solely focused on the production of panoramas. Between 1885 and 1889, the American Panorama Company produced eight panorama paintings at the Milwaukee Studio. His is a link to a short paper about Werner and his firm for more information: http://www.germanamericanpioneers.org/documents/WhathappenedtothePanoramaPainters.pdf

When considering the production of panoramic works at this time, it is not hard to recognize that most artists were Europeans, those recently brought to the United States for this work. These were not individuals interested in permanently moving and becoming naturalized citizens. Such was the case in many other trades at this time.

Immigrant Labor

I also need to mention the 1885 Alien Contract Law, also known as the Foran Act. The first section stated, “It shall be unlawful for any person, company, partnership, or corporation, in any manner whatsoever, to prepay the transportation, or in any way assist or encourage the importation or migration of any alien or aliens, any foreigner or foreigners, into the United States, its Territories, or the District of Columbia, under contract or agreement, parol or special, express or implied, made previous to the importation or migration of such alien or aliens, foreigner or foreigners, to perform labor or service of any kind in the United States, its Territories, or the District of Columbia.” Here is a link to the full act: https://immigrationhistory.org/item/foran-act-of-1885-aka-alien-contract-labor-law/

This basically described what Werner and other companies were doing, except there was a loophole for the entertainment industry. The legislation specified unskilled labor. Exceptions were made for skilled labor, such as artists or performers. Many theatre practitioners were not thrilled about an influx of competition, even when they are also foreign-born. In fact, in 1888, English scenic artist and actor, Harley Merry, joined Edwin Booth and Lawrence Barrett in the Actor’s Order of Friendship to lobby against the wholesale importation of foreign actors and touring companies.

Image of H. Merry in 1886.

Merry was later instrumental in establishing the American Society of Scene Painters. In 1892 the organization was established in Albany, New York, with the executive staff consisting of Richard Marston (Palmer’s Theatre), Henry E. Hoyt (Metropolitan Opera House), Homer F. Emens (Fourteenth Street Theatre), Sydney Chidley (Union Square Theatre), Harley Merry (Brooklyn Studio) Brooklyn and Ernest Albert (Albert, Grover & Burridge, Chicago). Keep these names in mind, as you read the rest of this post about 1885. Keep these names in mind as you read the remainder of this post.

Back to 1885. This year, there are three panoramas on display painted by foreign artists. Werner has brough over an entire team of foreign artists to staff his panorama company in Milwaukee. Kindt is producing his third panorama. Two panoramas depicting General Grant’s Trip Around the World are planned in Chicago.

General Grant’s Trip Around the World

On June 11, 1885, the Chicago Tribune reported, “A license was granted at Springfield yesterday to incorporate a panorama company made up of Chicago men whose object will. Be to exhibit a series of gigantic views illustrative of scenes of Gen. Grants trip around the world. The incorporators are Frank C. Bromley, the artist, John H. Atkinson, and John V. A. Weaver. Mr. Bromley, who was seen yesterday, said that the project was already advanced to a certainty for the near future, although many essential details are still unarranged. In a general way the scheme is sufficiently outlined above. Mr. Bromley will contribute some of the views form sketches of his own made during the extensive travel over the scenes covered by Gen. Grant. The rest will be gathered from various sources. It is not yet determined whether the canvases will be housed in a permanent building or arranged for transportation to different cities” (page 8). For context, Bromley frequently exhibited artwork at with other Sosman & Landis employees at Louderback & Co. Galleries, only a few blocks away.  In fact, Thomas G. Moses collected works by Bromley for his own home. In 1885, Bromley lived at 78 Monroe, just three blocks north of the Sosman & Landis studio on Clark Street.

About the same time that Bromley began his Grant Panorama project, Sosman and Landis also began to plan for their own version. This was the same summer that Poilpot’s Battle of Shiloh panorama opened in Chicago.

Sosman and Landis’ Grant Panorama Company

At the beginning of 1886, Sosman & Landis moved into their newly-constructed studio on Clinton Street. The first project was a panorama. Sosman & Landis employee, Thomas G. Moses wrote, “Mr. Strong and I started on a very interesting panorama of Grant’s trip around the world.  We were alone in the big studio for some time before the whole force came over.  We enjoyed painting the panorama as it was continuous. There was some careful blending to be done.”  On March 31, 1886, The Inter Ocean announced the following their new company in the “Embarking Upon Business Section” (page 6). The announcement stated, “The Grant Panorama Company, at Chicago, to exhibit a moving panorama of scenes in the life of the history of General U. S. Grant; capital stock, $50,000; incorporators, Charles S. Gillespie, Perry Landis and Joseph Sosman.” Although the firm’s first studio on South Clark Street was in an ideal location, there was simply not enough space for their ever-increasing workload, or something on the scale of a panorama project. They needed a building specifically designed for the manufacture of painted scenes.

The General Grant Memorial Park

It is understandable that two firms came up with the same idea when one considers the popularity of panoramas in Chicago and the City’s plan for the General Grant Memorial Park. In 1885 donations were collected for the park. Donors to the cause were individually listed in local newspapers. Companies were also named if several employees donated to the cause. Such was the case with Sosman & Landis in August 1885.

On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund:

Sosman & Landis         $10.00

Thomas G. Moses       $2.00  

Henry J. Buhler            $2.00  

David A. Strong           $1.00  

George W. Dayton      $1.00

J. C. Evans                   $1.00  

Karl Boettger               $1.00  

Frank E. Gates             $1.00

John Moore                $1.00   

Edward Loitz               $1.00

C. W. Carey                 $1.00  

C. M. Crouse               $1.00   

Frank Lewis                 $1.00

William Martin            $0.50  

Frank Ford                   $0.50   

B. P. Lee                      $0.50  

Julius Fehrman            $0.50

Fred Miller                  $0.50  

Hugo Schoessling        $0.50

Mrs. J. S. Curran          $0.50  

Ed Donnigan               $0.25

Kirke W. Moses           $0.25  

I have written biography’s for this entire list of individuals. Just use the keyword search function. The firm’s donation was also noticed by Sosman’s hometown newspaper. On Aug. 6, 1885, “The Macomb Journal” reported, “We see by the Chicago papers that Sosman & Landis, scenic artists, and their workmen, made up a subscription of $19 to the Chicago Grant monument fund” (page 4).

I am going to provide some financial context for the General Grant Memorial Park donations in 1885. The average prices for food that year: meat was 12 cents a pound; eggs were 17 cents per dozen; bread was 5 cents per loaf; sugar was 8 cents per pound; potatoes were 45 cents per bushel, and soft coal was $2.95 per ton. $1.00 in 1885 has the equivalent purchasing power of approximately $31.00 today. However, considering average annual earnings at the time, $1.00 was not insignificant. In fact, the average annual wage in the United States for 1885 was $589.00.  For more information about wages in the US from 1880-1889 visit: https://libraryguides.missouri.edu/pricesandwages/1880-1889

With all of this in mind, Thomas G. Moses earnings at Sosman & Landis were $3,050 in 1884 and $2,975.00 in 1885, well above the average.

The Sosman & Landis employee donations provide a wonderful snapshot of who was working in the main studio at the time. In addition to the 21 Sosman & Landis employees listed above, there were at least 15 other individuals working for the firm that year who did not donation at this time. Also, other than Mrs. J. S. Curran, I have yet to identify any individuals who were working in the sewing rooms and office. She could not have been the only seamstress when considering the amount of scenery that was being produced in 1885.

All told, there were at least 36 employees at Sosman & Landis in 1885, not including the two founders of the firm.

Other 1885 Sosman & Landis staff members included Charles Landis, James M. Wood, Charles Ritter, David Strong, Henry C. Tryon, Edward Loitz, Edward Morange, Hardy Maratta, John H. Young, Henry C. Barrow, Charles S. King, Charles E. Boyer, C. D. Baker, Frank Ford, and Frank Gates. It is very likely that these individuals were on the road at the time that donations were collected. Gates had joined the force that summer, leaving his position at Pope’s Theatre in St. Louis, Missouri. On July 12, 1885, The St. Louis Globe-Democrat reported, “Mr. Frank Gates, who has been the scenic artist for Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself to Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). On Aug. 15, 1885, the St. Louis Post-Dispatch announced, “Frank Gates is with Sosman & Landis, of Chicago” (page 12).  Later Gates partnered with fellow 1885 Sosman & Landis scenic artist, Edward Morange. Gates & Morange settled in New York, becoming an extremely well-known Broadway Design Team.

A Gates & Morange advertisement in 1902.

This was a very significant time in American Theatre History, as scenic artists and stage carpenters from all over the country began working for the same firm.  In many ways, Chicago became a melting pot of stage craft. This gathering of talent and meeting of minds resulted in a variety of events that highlighted members of the scenic art community. A new exhibit was being planned to showcase the talents of American scenic artists in Chicago.

The Scene Painter’s Show

In 1885 the American Scenic Artist Exhibition was conceived, planned, and exhibited. Newspaper announcements specified that all artworks for the exhibit “must be painted in distemper color – scene painting fashion” (Detroit Free Press Sept. 7, 1885, page 5).

The announcement of the exhibit was published on the same page that featured Poilpot’s new panorama. On August 1, 1885, The Inter Ocean reported he Inter Ocean reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among those artists present were Ernest Albert, John Mazzanovich, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. Burcky, Charles Ritter and others” (page 4). Parker’s Galleries, soon to be known as Louderback & Co. Galleries, was located on Wabash Ave., less than two blocks south from Poilpot’s panorama. In fact, it was halfway in between the panorama building and the Sosman & Landis’ Clark Street studio.

A series of articles advertising the upcoming exhibit were published in newspapers across the United States. For example, on Aug. 23, 1885, The San Francisco Examiner reported, “A very good move has been set on foot in the interest of art in Chicago by a number of gentlemen who propose to arrange for an exhibition of works in distemper, the contributors to be exclusively scenic artists. The exhibition will be held at Louderback & Co.’s galleries, No. 215 Wabash avenue, Chicago, commencing September 22d, and continuing for two weeks. The pictures are to be all original, but there is no restriction to subject, and they must all be sent in not later than September 15th. The managing committee includes the names of David Strong, John Mazzanovich, Ernest Albert, Walter Burridge, Thomas Moses, Henry Tryon, George Dayton, Charles Ritter, John Young, and William Petford. The art of scene painting has in these days reached a very high plane, and probably its results gratify even a greater number of people than those who visit art galleries. Such an exhibition as that indicated in the above announcement will assuredly contain many very interesting examples, as in addition to the painters whose names appear as members of the committee, there will probably be contributions from the brushes of Marston, Clare, Voegtlin, Goatcher, Hoyt, Witham, Halley, Duflocq, Roberts, Merry, and many others – Chicago News Letter “(page 7).

On Sept. 7, 1885, the Detroit Free Press reported, “Robert Hopkin is at work on two water colors, which he will send to the scenic artists’ art exhibition at Chicago. All contributions to this exhibit must be in by the 15th inst., and all must be painted in distemper color – scene painting fashion. The show promises to be one which will create a considerable excitement in art circles, as the best artists in America will contribute” (page 5).

On Sept. 26, 1885, The Inter Ocean published an article about the opening of the exhibition entitled, “American Scenic Artists. Exhibition in Chicago” (page 16). The article continued:

“During the coming week at the Louderback Galleries, No. 215 Wabash avenue, will be held a novel exhibition in a collection of aquarelle painted by American scenic artists. The galleries could not be better for the purpose, being the best lighted in the city, and when the public leave the walls covered with gems of scenic art they will think more of the scenic artists and their woks than they did before – not as they supposed, coarse whitewashers and daubers in general. In holding the exhibition in Chicago, it not only reflects credit on the artists, but will give the art patrons a chance to secure some bits worthy of galleries of a Corcoran or a Vanderbilt. Among the artists can be found the following: Matt Morgan, of Cincinnati; John Rettig, of Cincinnati; Farney, of Cincinnati; R. Hopkin, of Detroit; W. P. Davis and Graham, of Kansas City; Harly Merry of Flatbush, L. I.; Henry Hoyt, New York; Phillip Goatcher, Wallack’s Theatre, New York; William Voegtlin, New York; Getz, Boston; LaMoss, Boston. The local scenic artists have formed themselves a committee, and it is the intention if successful with this exhibition, the inaugural, to hold it annually.”

John Moran also wrote an article about the exhibit that was published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Here is his article in its entirety:

“The Scene Painters’ Show. Chicago, October 12th, 1885.

The first Exhibition of Water Colors by American Scenic Artists has been open free to the public for some weeks past, in this city, and the eighty-four examples hung on the walls of Messrs. Louderback & Co.’s galleries include some praiseworthy and valuable works. Such a collection proves that the broad pictorial treatment requisite for adequate stage effect does not incapacitate a man for the finer and more delicate manipulation essential to good aquarelles, and shows, moreover, a healthy progressive spirit among scenic artists. The name of Matt Morgan has long been gratefully familiar to us, and he is represented by diverse and facile contributions. “Alone in the Forest Shade” (1), shows lumbermen with their load descending a wild ravine flanked on either side by towering pines. The feeling of solitude and gloom is forcibly conveyed, and the tree forms and foliage broadly yet carefully handled. “The Lost Comrade” (27), and “Waiting for Death” (14), are strong and weird aspects of prairies life, the former representing a horseman, lasso in hand, who has come upon the skeletons of a horse and rider among the pampas grass, and the latter a bull calf standing over the moribund body of a cow, striving with futile bellow to keep advancing wolves at bay. A nude figure, “The New Slave” (71), standing expectantly against a rich low-toned drapery, is exquisite in drawing and color and charmingly beautiful in suggestion. Mr. Walter Burridge runs the gamut of landscape figure and decoration and is good in all! His “Spring” (9), “Autumn Leaves” (39), and “Old Mill” (49), are deftly washed-in landscapes, true to nature and aerial in quality, while “My Assistant” (16), a study of behind the scenes life, and a “Ninety Minute Sketch” (83), of his friend Mr. Ernest Albert, show character and a nice sense of texture. Mr. Ernest Albert’s “Winter Twilight” (12), is full of sentiment of the season and excellent in composition, and his “October Morning” (31), “moonrise” (40), “Sunset” (79), and “Autumn” (80), are severally individual as transcripts and prove his mastery over the vehicle he uses. “A Decorative Flower Piece” (84), by the same artist, groups of roses, pansies and forget-me-nots in a most artistic and harmonious manner. “Nobody’s Claim, Col.” (65) and “Near Racine, Wis.” (76) By Mr. Thomas G. Moses, are among his best examples and are freely treated and with fidelity to locale character and sky effects. Mr. Albert Operti gives us some reminiscences of his Lapland tour in 1884, which are realistic and worthy, and Mr. J. Hendricks Young, “A Busy Day on Chicago River” (38), which together with the local bits by Mr. Moses, Mr. C. E. Petford and Mr. Burridge, is of historical value as it is skillfully painted. “Rats, you Terrier” (59), by the same hand, is a “snappy” and bright treatment of a dog’s head and fully catches the spirit of the English. Mr. Henry C. Tryon’s “Source of the Au Sable” (34), powerfully conveys a sense of somberness and grandeur, and though ample in detail loses nothing of the vastness and breadth, which such a landscape motion calls for. Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, Chas. Ritter, H. Buhler and John Howell Wilson, whose “Country Road” (76” is especially fresh, verdurous and bright. It is to be hoped that this is only the forerunner of many like exhibitions and it marks a decided growth in the national art spirit.”

I have identified thirty scenic artists who participated in 1885 exhibition, piecing together their names from various articles. Here is the list, with their location in 1885. In some cases, I was able to indicate a primary employer, partner, or place of work.

Ernest Albert, Chicago, Chicago Opera House

C. Boettger, Chicago, Sosman & Landis

H. E. Burcky, Chicago, Olympic Theatre

H. Buhler, Chicago, Sosman & Landis

Walter Burridge, Chicago, Grand Opera House

William P. Davis, Kansas City, Graham & Davis

George W. Dayton, Sr., Chicago, Sosman & Landis

George W. Dayton, Jr., Chicago, Sosman & Landis

H. F. Farny, Cincinnati, Pike’s Opera House

Charles S. Getz, Boston, Boston Theatre

Phillip Goatcher, New York City, Wallack’s Theatre

Lemuel L. Graham, Kansas City, Graham & Davis

Robert Hopkin, Detroit, William H. Power shows

Henry E. Hoyt, New York, Park, Casino and Star Theatres

Edward La Moss, Boston, Boston Museum (as assistant to T. B. Glessing)

Louis Malmsha Chicago, McVicker’s (passed in 1882)

J. Mazzanovich, Chicago, McVicker’s Theatre (with Rogers)

Harley Merry, Flatbush, L. I. Casino Theatre NY

Matt Morgan, Cincinnati

Thomas G. Moses, Chicago, Sosman & Landis

Albert Operti, New York City

C. E. Petford, Chicago, Columbia Theatre

John Rettig, Cincinnati

Charles Ritter, Chicago, Sosman & Landis and Hooley’s

J. Howard Rogers, Chicago, McVicker’s (with Mazzanovich)

David Strong, Chicago, Sosman & Landis and Haverly’s

Henry C. Tryon, Chicago, Sosman & Landis and Columbia Theatre (with Petford)

William Voegtlin, New York

John Howell Wilson, Indianapolis, Grand Opera House

John H. Young, Chicago, Sosman & Landis

Nine of those listed above were working at Sosman & Landis in 1885. Two were former employees, who had just left the firm to establish their own studio in Kansas City (Graham & Davis).

More than one-third of the participants in the first American Scenic Artists Exhibit worked for Sosman & Landis between 1884 and 1885.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. 1883-1884

Copyright © 2023 by Wendy Waszut-Barrett

Thomas G. Moses left Sosman & Landis in late-May 1882. He had been with the firm for a little more than two years. During this short period of time, Sosman & Landis had greatly increased their staff and productivity. Their primary work included stock scenery collections and drop curtains. Many of the drop curtains included local business cards surrounding a central landscape. In other words, they were painting advertising curtains.

Pencil sketch of an ad drop design. Twin City Scenic Co. collection. University of Minnesota Libraries, Performing Arts Archives.

In 1880 Moses wrote, “My first work was to go to Kenosha, Wisconsin and start the first job of scenery that Sosman and Landis ever did. Up to this job they had been doing nothing by advertising drop curtains.”

By 1883, the firm was reliant upon delivering multiples. For example, a number of their drop curtains depicted the same, or very similar design. Popular subjects at this time were Roman chariot races, Venetian seascapes, and Alpine landscapes.

Moses soon became tired with the repetitive nature of the projects. That year wrote “1882 found me just as restless to do something big, and I drifted along with the regular work, until about May, when Graham’s Theatre season closed. We got together and I quit the firm after refusing a big salary – that is, for me.”  At the time, Moses was making $26 a week, but had been picking up extra work with Lemuel L. Graham (1845-1914) at the Academy of Music and Standard Theatre in Chicago. Graham also worked for Sosman & Landis, but always maintained a theatre affiliation.

At the end of May 1882 Moses partnered with Graham, establishing Moses & Graham, scenic artists. This may have been in the works for a while as when the two painted scenery for Sosman & Landis at the Minneapolis Academy of Music in 1881, they also went by title Moses & Graham. Graham had at least eleven years more experience than Moses, having painted all across the country. In fact, Graham had trained with some of the best artists in San Francisco, Cleveland, Memphis, and New Orleans before settling in Chicago.

Moses & Graham quickly landed a series of projects, becoming immediate competition with Sosman & Landis. From May 1882 until March 1883, their projects included: the Academy of Music in Kalamazoo, Michigan; Redmond’s Opera House in Grand Rapids, Michigan; Blake Opera House and Belle City Opera House in Racine, Wisconsin; the Opera House in Marengo, Illinois; the Grand Opera House in Eau Claire, Wisconsin; and the Opera House in Burlington, Wisconsin.

Scenery installations completed by Moses & Graham between May 1882 and May 1883.

Moses & Graham added scenic artist, John H. Young to their team, when they were in Grand Rapids. Moses had previously worked with Young early on in his career and the two were close friends. Young remained with team, assisting in Racine, Marengo, Eau Claire and Burlington. Three skilled scenic artists meant that Moses & Graham were able to work on multiple projects, hiring local assistants when needed. They quickly became direct competitors with Sosman & Landis.

It was only a matter of time before Moses & Graham went after the same project at Sosman & Landis. It is important to remember that after two years, Moses intimately understood his former employer’s designs, bidding process, and profit margin; this put him at quite an advantage when the two bid on the same job in Wisconsin.  Both arrived in town in late March 1883. On March 23, The Osh Kosh Northwestern announced Perry Landis’ arrival in Osh Kosh at the Revere and Oak Bros.” (p. 1).  Thomas G. Moses wrote, “I went to Oshkosh, Wisconsin, after a contract.  I met Mr. Landis there.  I got the contract.  We rode to Chicago together and met Mr. Sosman on our arrival.  We were offered $45.00 a week.  I wired Graham at Burlington.  He answered $50.00 and extras.  We closed for that.” $50 in 1883 is the equivalent of almost $1700 today. Moses’ salary at Sosman & Landis almost doubled between September 1881 and March 1883.

This amount needs to be put in context, as it signals a new level of appreciation by Sosman & Landis. When Sosman first hired Moses in 1880, it was for $18 a week. This salary was increased to $20 a week during the spring of 1881. By the fall of 1881, Moses’ salary was again increased to $26/week. However, this was still far below the average scenic art rate of $35-$45 a week.

Moses and Graham’s return to Sosman & Landis caused a bit of a stir with the Osh Kosh Opera House Committee. On April 4, 1883, the Oshkosh Northwestern reported, “Graham & Moses, who were awarded the contract for furnishing curtains, scenery and stage settings for the Opera House have notified that they withdrew their bid and decline the contract. On receipt of this also comes a notification from Sosman & Landis, who also bid on the job to the effect that they have employed Graham & Moses in their establishment and are asking that the contract be awarded them in accordance with their bid. It appears that there were only two bids in for the work, that of Graham & Moses and one from Sosman & Lands. The latter’s bid was about $700 larger than that of Graham & Moses, and, now it would seem the two firms have fixed it up, so as to try and have the contract awarded at a greater amount. The directors are now talking of giving the contract to other parties entirely and not letting either of those firms get a finger in it” (page 4).

After completing Osh Kosh scenery project in April, Moses wrote, “May 1st found Graham, Young, and Myself back on Clark Street at the Sosman & Landis Studio. I averaged $70.00 per week, as we had a lot of night work, mostly piece work. We had to do all the road work which I didn’t like. Ed Loitz joined the force this year.” This was a far cry from the $18/week that Sosman offered Moses in 1880.  

For context: $70/week in 1883 is approximately $2250/week today. This means that Moses’ monthly earning of $280/month is the equivalent of $10,000/month today.  

Sosman & Landis were enjoying an extremely high profit margin.  Throughout the 1880s, the firm maintained a 45% profit margin, or more. To look at their work in a larger picture, I am going to examine the price of a drop curtain at this time. In 1884, Sosman & Landis placed a bid on a drop curtain for the Masonic Temple in Fort Wayne, Indiana. They were one of five scenic studios bidding on the project. The other four were Noxon, Halley & Toomey, Moses & Co, E. B. Fickes, and Kover & Son.

Their bids were published in The Fort Wayne Sentinel on May 21, 1884:

Noxon, Halley & Toomey, St. Louis, $1,800; Sosman & Landis, Chicago, $1,800; Moses & Co., Kalamazoo, $1,550; E. B. Fickes, $1537; Kover & Son, Cincinnati, $1,500.

The project went to the lowest bidder, Kover, who was former Fort Wayne resident.

Thomas C. Noxon also commented on the average price of drop curtains that year. On January 21, 1884, The St. Louis Post-Dispatch published an article entitled, “Curtain and Scene Painting. The Leading Artists of the Country and the Prices Paid for Their Work” (page 8).  Noxon, Albert & Toomey had just delivered a new drop curtain to the Grand Opera House in St. Louis. The reporter queried, “What does a new drop curtain cost?”  Noxon replied, “About $500 or $600.”

When asked about how long a drop curtain too to paint, Noxon responded, “All the way from two or three days to five or six weeks. I painted a drop for Tootle’s Opera House, Sedalia. Some years ago, in two and one-half days and got $500 for it, but an artist now seldom turns out a piece of work of this kind in less than three weeks. He can put in much time on it with a great deal of profit.”

Even if one used a timeframe of three weeks, with Moses’ salary of $50/week, that means that the labor for the drop curtain was $150, plus materials. If you factor in materials, shipping, and installation at another $100, that is still less than half for a $500 curtain. So is we look at the 1884 bids for $1500 and $1600, you can see how there could be a significant profit margin for this work.

When asked about the price of stocking a theatre with new scenery, Noxon responded, “From $2,000 to $3,500” for approximately thirty-five sets, “enough for putting on any legitimate piece.”  This price did not include a new drop curtain, a piece that was almost as expensive as all of the other scenery combined.

Between 1883 and 1884, Sosman & Landis was becoming a well-oiled machine with standard operating procedures. Salesman travelled the region and landed contracts. Scenic artists and stage carpenters were sent on site to complete many stock scenery collections. Distance, venue, existing scenery, and timeline were all taken into consideration when factoring the various options of location and manufacture.  The final decision was based timeline, workload, and available space, in the main studio on Clark Street in Chicago.

Regardless of whether the work was completed in the studio or on site, it often took place place over the span of a few weeks. Some of the more complicated scenes, such as drop curtains, were frequently painted in the studio, shipped to the locations where the accompanying stock scenery was being painted on site.

Once a stock scenery collection was completed, Sosman & Landis made a point of displaying their work under stage lights to a small group of local individuals; a group that almost always included a local reporter. This “sneak peak” of the scenery received a big write up in local newspapers with scenery described in detail.  These articles provide great insight into what the firm was delivering to stages across the country.

I located a wonderful article describing scenery painted by Sosman & Landis employee, H. J. Buhler, for Myer’s Opera House in Janesville, Wisconsin. On Oct. 23, 1883, the Janesville Daily Gazette announced Buhler’s arrival: “Mr. H. J. Buhler, of Sosman & Landis studio, Chicago, arrived in the city yesterday afternoon to begin the work of painting new scenery for Myers opera house” (page 4). The article continued, “There has been a great improvement made of late in stage decorations, and standing at the front of artists in this line are Sosman & Landis. They have within the past year or so painted scenery for many of the largest theaters in the west…Mr. Buhler, who has been commissioned to do the work, is an artist of rare skill in that line. The decorations in many of the principal opera houses in the west are by his brush. He thoroughly understands the tendency of modern art as applied to the scenic department, and will do some excellent work. It will take him about two weeks to complete the work and will be engaged both day and night.”

On Nov. 12, 1883, The Janesville Daily Gazette described Buhler’s progress and the scenery (page 3).  The article reported:

“Mr. H. J. Buhler from the scenic studio of Sosman & Landis, Chicago, show has been engaged in painting new scenery for Myers Opera House more than two weeks past, will finish the work on Wednesday of this week. To-morrow evening, Mr. Buhler will arrange different stage settings which will show the general character of the work done by him. This will be done for the accommodation of the press of the city. Among the pieces executed by Mr. Buhler are two tormentors and two tormentor wings, and a grand drapery border 12 feet wide by 25 feet long. The scene includes a kitchen set, a plain chamber set, a prison set, a handsome box parlor set of Modern Eastlake ebony comprising two pairs of flats and four wings and borders to match. It is one of the finest box parlor sets to be found in any theater or opera house in this state, and is beautifully decorated with bric-a-brac, armor, plaques, and so on. There is also a Louis 14th gothic set which is also very beautiful. The landscape paintings embrace a country landscape; a dark wood scene; a rocky pass taken from Yellowstone park; a set house, vases, and balustrade. There is also an ancient street scene taken from Strasburg, and is, in all respects, a very effective scene. One of the finest scenes among the large collection which ornaments the stage of the opera house, is an ocean set, which is a splendid piece of marine painting. Very many of these sets and scenes will be used for the first time on Thursday night when Miss Anna Dickinson will produce Anne Boleyn. Mr. Buhler has kindly consented to remain here that night an arrange the scenery for the play. A new drop curtain, a very elegant one, costing not less than $200, has been ordered by Mr. Meyers, and will be painted in Chicago. There is now four times more scenery in Myer’s opera house than ever before, and aside from the quantity, ion artistic merit it is not excelled by that of any other opera house in Wisconsin. Messrs. Sosman & Landis have a wide reputation as scenic painters and have decorated many of the leading theaters and opera houses in the west, and they have served Mr. Myers well and have done a good public service, by sending Mr. Buhler here to furnish the opera house with new scenery. He is a thorough artist, and having made scenery a specialty for years, he was, in every particular, fully competent for the task. He is a rapid workman and a genius in his line. The public will be surprised on Thursday evening to learn the great quantity of fine scenery he has turned out in so short a time. Every single piece is a credit to the artist, and a great advantage to the opera house.”

If Buhler were paid the same amount as Moses and Graham in 1883, he earned less than $300 for the project. By 1882, the studio employed a staff of five scenic artists.

By the summer of 1883, Sosman & Landis’ staff included: Thomas G. Moses, Lemuel L. Graham, John H. Young, Edward Loitz, William P. Davis, Henry C. Barrow, Harry J. Buhler, Edward Morange, Hardesty Maratta, Charles S. King, Cyrus M. Crouse, C. W. Corey and August Kreis. The staff continued to increase over the next year, as the studio’s workload continued to increase. David A. Strong, Henry C. Tryon, Charles E. Boyer, Claude Hagen, and C. D. Baker were associated with the firm by 1884.

I have identified six ways that Sosman & Landis secured scenic and stage work at this time. I will explain each way.

1. The first way was local advertisements, placed in newspapers across the country. They received orders from a variety of entertainment venues this way, many of them mail order.

As noted in my previous post, here is the same advertisement that appeared in both Ohio and Texas newspapers during 1882:

Advertisement in Cincinnati Enquirer, April 15, 1882.

2. The second way was sending salesmen from town to town; this was to making cold calls today. Many of the “salesmen” were intimately familiar with the design and mechanical requirements of a stage, also filling in as scenic artists and stage carpenters. In many cases, the salesmen focused on the sale of advertising curtains (drop curtains with ad spaces for local businesses). After collection payments from local businesses for an ad space, the drop was gifted to the community. Ultimately, their “ad drop” was so successful that it resulted in stock scenery work.

3. The third way was word of mouth. As the firm gained a national reputation, their scenery was sought after by theater managers who became familiar with their work. For example, Manager Mosely recommend Sosman & Landis for the project at Myer’s Opera House in Janesville, Wisconsin (Janesville Daily Gazette 23 Oct. 1883, page 4).

4. The fourth way was using their employee’s networks. For example, they targeted venues with an employee’s scenery, offering to “redeliver” new scenery for the stage. This familiarity with a particular individual and their work helped Sosman & Landis reach into new areas. As with establishing regional branches, local connections mattered. The firm immediately established regional offices in Dallas, Kansas City, Detroit, New York, and Cincinnati by the mid-1880s. For Cooke’s Opera House in Grayville, Illinois, the settings were installed by employee August Kreis, a machinist who spent his childhood in the area. On June 22, 1883, Evansville Courier and Press reported, “The scenery which is very elegant was painted by Messrs. Sosman & Landis of Chicago. The settings and its stage were arranged by Mr. August Kreis, a Grayville boy, and shows taste and skill” (page 4). Over the years, Sosman was also remembered as “a Macomb boy,” despite having left the area decades ago. These histories greatly mattered when competing for work in small towns and rural areas.

5. The fifth way was responding to call for bids on an upcoming project. These were also instances where local ties could sway a vote. On Saturday, August 30, 1884, the Chicago Tribune published an announcement from the Academy of Music in Saginaw, Michigan (page 15). It was a call for “Sealed Proposals” on upcoming theatre work.  The announcement stated, “Sealed Proposals will be received till 12 o’clock noon Sept. 1 for the following work on the new Academy of Music at East Saginaw, Mich.:

1st – Work and materials to complete the private boxes and proscenium front according to plans and detail drawings.

2nd – Scenic and stage work.

3rd – Carpets, draperies, matting, and window shades.

4th – Brass-work, tiling, and material trimming

5th – Decorating

6th – Gas-fixtures and electric lighting of same

7th – Interior painting, gilding, and bronzing

Proposals will be received for the whole or any part of the above work.

Proposals to be sent to E. H. Morely, East Saginaw, Mich. Committee reserve the right to reject any or all proposals. Plans, specifications, and detail drawings can be seen till Saturday, Aug. 30, at 111 and 113 Wabash-av. Inquire for B. W. Wood. Architect to be consulted as to the colors, etc.

(signed, J. M. Wood” (page 15)

Earlier that year, Wood had become lessee of the Blake hotel, of Racine (The Daily Journal and Republican 28 May 1884, page 4). He would go on to form a brief association with Sosman and Landis, known as Sosman, Landis, & Wood. Having an employee with architectural experience was key.

6. The sixth way was establishing an affiliation with a particular theatre architect. In addition to Co. J. M. Wood, Sosman & Landis employees H. C. Barrow. Barrow had experience as a stage carpenter, scenic artist, architect, contractor, and salesman. In many ways, he was a jack-of-all-trades; certainly as asset to the firm. Over the years, Sosman & Landis would form alliances with regional architects, but also offer their own architectural services for the construction of stage houses. In fact, they later offered free stage houses designs, if their scenery was installed at the venue. This was a wonderful way to ensure that the stage machinery was in working order when the scenery arrived for installation.

Below is a list from 1883-1884 mentioning the firm’s sales, work and installations. In some cases, a specific individual employed by the firm is named, and his work described in detail. Please consider this a small sampling of their work. In 1884, the firm was credited with delivering scenery to 150 opera houses. In 1889, the firm was credited with delivering scenery to 1000 opera houses across the United Stated. In 1894, the firm was credited to delivering scenery to 4000 opera houses. No one could compete with their track record. Sosman & Landis was a firm known all across the country, greatly respected for their high-quality of scenic art, mechanical innovation, and their consistency to deliver an excellent product.

ALABAMA

Gadsden, 1884 – Opera House (Corey, stage carpenter)

ARKANSAS

Fort Smith, 1883 – Academy of Music (Barrow, salesman)

Little Rock, 1883 – Capital Opera House (Barrow, salesman)

On August 12, 1883, the Daily Arkansas Gazette reported, “The Capital Opera house is to have a new drop curtain immediately. The scene to be represented upon it is that grand old conception of the Roman chariot race, and when completed the curtain will be one of the finest in the state. Mr. H. C. Barrow, representing Sosman & Landis, of Chicago, at whose studio the work is being done, is in the city, and states that he also has orders for the curtain for the Pine Bluff Opera house, the Fort Smith Academy of Music, the Van Buren theater and Ghio’s at Texarkana.”

Pine Bluff, 1883 – Opera House (Barrow, salesman)

Texarkana, 1883 – Ghio’s at Texarkana (Barrow, salesman)

Van Buren, 1883 – Opera House (Barrow, salesman)

GEORGIA

Columbus, 1884 – Springer Opera House

On June 4, 1886, the Columbus Enquirer Sun reported, “Mr. H. C. Barrow, of Chicago, was in the city yesterday, endeavoring to secure the contract to place the new scenery in Springer Opera House. Manger Foley has not given him an answer to his proposition yet.”

ILLINOIS

Bloomington, 1884 – Durley Theatre

Chicago, 1884 – Standard Theatre

On Jan. 13, 1884, the Chicago Tribune reported, “The painting is by Sosman & Landis, and everything, from the elegant new curtain to the smallest property, is thoroughly first class…The scenery is beautiful and effective and elicits the admiration not only of the audience, but of the theatrical profession as well. It was done by the Sosman & Landis Scenic Studio, 277 and 279 South Clark Street, a firm who have almost a National reputation for artistic work. They are now putting scenery in the new Lyceum Theatre, and during last season put scenery in the new Gillis Opera-House, Kansas City, Mo., and a number of others, besides supplying upwards of 150 smaller opera houses and halls” (page 6).

Chicago, 1884 –  Lyceum Theatre

Decatur, 1883 – Opera House (Graham and Young, scenic artists)

On June 27, 1883, the Decatur Daily Republican reported, “Mr. John H. Young, the water color artist of Chicago, has arrived in the city and will form a class on Thursday afternoon of this week for th purpose of giving instruction in making sketches from nature. Mr. Young may be found either at the opera house where he is engaged painting scenery, or at Drake’s Hotel. The artist will give lessons on Tuesday and Thursday afternoons each week during his stay of four weeks in Decatur.”

Grayville, 1883  – Cooke’s Opera House (Kreis, installer).

Streator, 1883  – Plumb Opera House (Strong, scenic artist).

On July 29, 1883, The Daily Commonwealth of Topeka, Kansas, announced that the house was rapidly approaching completion, and when finished it would be “one of the prettiest in the West.”

Joliet, 1883   – Opera House (Strong, scenic artist).

On July 7, 1883, The Ottawa Free Trader credited Strong as the scenic artist (p. 5)

Aurora, 1883  – Opera House  (Strong, scenic artist).

On June 24, 1883, The Inter Ocean reported that David A. Strong “had painted a fine drop curtain for the Opera House at Aurora. He will go to Aurora and devote his attention to the scenery of that house during the present week. The Opera House is to be remodeled and put in shape for first-class attractions” (page 13).

Decatur, 1883 – Opera House (Graham and Young, scenic artists).

On July 28, 1883, The Herald-Dispatch reported “The exhibition of the new scenery at the opera house last evening was highly satisfactory. The favored few who were present saw even better scenery that they had expected. The drop curtain is a copy of Jerome’s celebrated painting of the Roman chariot race. The ‘back drops’ included the following scenes: an ideal mountain landscape’ a ‘palace drop,’ which is really the scene under the dome of St. Peter’s cathedral at London; a ‘palace arch drop,’ which is used in connection with the foregoing and to give it a changed appearance; a ‘marine drop,’ presenting a pretty sea view. The ‘flats’ include the following views: a dark wood, a light landscape, a palace garden, a street in perspective, a modern drawing room, a rustic kitchen, a prison and a plain chamber. All these scenes have the requisite borders and wings. Below is given a list of what the painters call ‘set stuff,’ i.e. pieces which are placed in stage alone and braced, not being made to run in grooves or drop from above. The list embraces a garden walk, a garden balustrade, a ‘set house,’ a ‘set cottage,’ ‘set waters,’ ‘set rocks’ and ‘set trees.’ L. L. Graham, the scenic artist, has been engaged in this work for three weeks. He has been assisted by John H. Young, of Chicago. Mr. Graham has had 17 years of experience in this line of painting. He and his assistant left last night for Chicago, whence they go to do the same kind of work at Boyd’s opera house in Omaha, and finally at the New Gillis opera house in Kansas City, the largest in the west, which has just been built at a cost of $175,000. Of Mr. Graham’s work in the opera house, we need only speak briefly, His work shows that he has greatly improved during the years since he painted the former scenery. In the painting of his landscape views, he is almost perfect. The coloring is natural, and the lights and shades are arranged with an artistic taste. In the painting of animal, however, he is not so happy. Two of the horses’ heads in the scene on the drop are perceptibly ‘off’ in shape, but with this exception the view seems perfect. He is accurate and painstaking in his views of house, streets, palaces and gardens. We of Decatur are to be congratulated that he has come among us, for his work on the opera house scenery will give to the drama enacted there this year a realism and vividness which we have never heretofore known” (page 3).

INDIANA

Edinburgh, 1883 – Tracy’s Opera House

On Dec. 6, 1883, The Edinburg Daily Courier reported, “grand and magnificent scenery, gotten up by Messrs. Sosman & Landis, of Chicago” (page 4).

IOWA

Waterloo, 1884 – E. W. Burnham’s new Opera House (Strong, scenic artist).

On October 8, 1884, The Courier reported, “A Splendid Job. – E. W. Burnham yesterday showed us the new drop curtain which he has just received for the opera house. It is from the studio of Sosman & Landis, of Chicago, where the rest of the new scenery is being made and was painted by Strong the scenic artist of Haverly’s theatre. In artistic design and execution, this curtain can hardly be excelled in any city theatre, It represented a Swiss River scene as a picture, framed in a heavy frame, with handsome velvet curtain on each side. The combination of colors makes a rich and very beautiful effect and the whole curtain displays great artistic excellence” (page 8).

KANSAS

Sabetha, 1884 – Armory

On Jan. 3, 1884, the Sabetha Weekly Herald  announced, “Sosman & Landis have agreed to positively have the scenery into position, at the Armory, by the 15th.” Then, as now, not all jobs ran smoothly, or were delivered on time. Over the years, scenery was both damaged and lost in transit.  Occasionally, these unfortunate incidents results in court cases. As previously stated, the average profit was so high that they could afford to take a loss, without having to waste time on expensive court cases. That being said, demand for painted scenery was greater than the supply of artists or studio, giving the firm an upper hand in negotiations.

Sabetha, 1883 – GAR Hall

On Dec. 6, 1883, the Nemaha County Republican reported, “The scenery for the stage has been contracted from Sosman & Landis, of Chicago. It will be about the same as used at Seneca, except the drop curtain, which will be much finer” (page 7).

Seneca, 1883 – Opera House

Topeka, 1884 – Union Hall  

Wyandotte, 1883 – Dunning’s Hall

On May 17, 1883, The Wyandotte Herald reported, “The scenery and drop curtain were painted by Sosman & Landis of Chicago” (page 3).

MASSACHUSETTS

Haverhill, 1884 – Music Hall (scenic artist, Tryon).

On August, 2, 1884, the Deseret News of Salt Lake City, Utah, reported, “Henry C. Tryon, formerly scenic artist of the Salty Lake Theatre, whose productions are so much admired by the theatre-going public of this city, lately executed a splendid specimen of his skill at the Music Hall in Haverhill, Mass. It is in the form of a new drop curtain, the subject being a scene at Bellagio, on Lake Como, Italy. The Haverhill Gazette asserts confidently that ‘a more artistic production of its kind does not now hang behind the proscenium of any theatre in the country.’ It must be indeed superb if it excels the curtain executed by the same artist for the Salt Lake Theatre, which delights all who look on it with artistic eyes.” (page 2).

MISSISSIPPI

Vicksburg, 1884 – New opera house (Corey and Barrow, stage carpenter and scenic artist).

On July 10, 1884, The Vicksburg Herald reported, “Mr. Henry C. Barrow, scenic artist representing the big scenery house of Sosman & Landis, of Cincinnati, arrived here yesterday, to contact with Messrs. Piazza & Botto, proprietors of the opera-house, for a new set of scenery for that building” (page 4).

Aberdeen, 1884 – Masonic Temple Opera Hall (Corey).

On Sept 19, 1884, The Vicksburg Herald reported, “The Opera-house. Messrs. Piazza & Botto, proprietors of the Opera-house have determined to send to Chicago for the stage carpenter to put up the stage settings. A man was telegraphed from some days ago and he is expected to arrive here this morning and will begin work at once putting up the scenery and arranging the house for the opening of the season. The drop curtain will be a new departure in this vicinity. In the center of it will be handsomely painted a beautiful landscape while surrounding this will be twenty spaces which will be devoted to advertising, the lettering on the advertisements will be tastefully and handsomely done by the best of scenic artists. Only about five of the twenty spaces which compose the inner border of the curtain remain untaken, and these will be filled to-day and the curtain will be ordered at once” (page 4).

On Sept. 23, 1884, the Vicksburg Evening Post reported, “Mr. Charles W. Corey of Chicago, the stage carpenter engaged by Messrs. Piazza & Botto, arrived by this morning’s train. He is much pleased with the appearance and arrangement of the new Opera-house, and says it will make decidedly one of the handsomest places of amusement in the South. He says it is one of the nicest arranged places for an Opera-house he has seen elsewhere in the South. Mr. Corey will proceed with work at once, and says that there will be no delay whatever from now on in pushing the work to a rapid and satisfactory completion. The managers of the Opera-house state that Mr. Corey has a big reputation as a stage carpenter, and that they are charmed with his favorable opinion of the house, because his opinion is that of a man who has splendid experience in such matters and knows what he is speaking about” (page 1).

On October 24, 1884, The Vicksburg Herald reported, “Mr. Frank Corey, the stage carpenter has about finished his labors on the new opera-house and yesterday hung the new drop curtain, which can double discount the old one with greatest safety. A richly painted border in fancy colors, surrounds a fine representation of the noted Roman chariot race, and majestic horses being defected near life size in the canvas and appearing as natural as the brush held by an artistic painter who did this work. The delicate shadowing is done beautifully and the richly folded draperies surrounding the grand stand from which the Roman emperor of old is represented as viewing the race, set-off to advantage the fine figures as they are grouped together in the stand. Altogether the scene is a thrilling one, beautifully done, and the eyes of those frequenting opera-house will invariable rest on it with uninterrupted pleasure” (page 4).

MISSOURI

Kansas City, 1883  – New Gillis Opera House (stage carpenter, Hagen, with scenic artists Graham, Young).

NEBRASKA

Fremont, 1884 – Bullock’s Opera House

On June 18, 1884, the Fremont Tri-Weekly Tribune reported, “The drop curtain is 25 feet square and was painted in Chicago by Sosman & Landis; there are seven new sets of scenery and a Saunders gas machine with 12 border and 12 footlights to illuminate the stage” (page 7).

Omaha, 1883  – Boyd’s Opera House (Graham and Young, scenic artists).

NEW YORK

Delhi, 1884 – Opera House

On July 2, 1884, the Delhi Delaware Gazette reported, “The following is a list of the stage supplies, ordered from Sosman & Landis, of Chicago, the largest house of its kind in America: An elegant and artistic drop curtain; parlor scene; kitchen scene; plain chamber scene; prison scene; wood scene; garden scene; street scene; 2 front wings’ 6 parlor wings; 6 kitchen wings; 6 wood wings; 1 grand drapery border’ 3 sky borders; 1 set cottage; 3 set rocks; 1 set bridge; 2 set balustrades; 2 set garden vases. The building will be completed about the middle of August, and the grand opening will occur about the 1st of September” (page 3). All told, Sosman & Landis delivered a drop curtain and 7 complete sets, with 43 pieces (Oct. 1, 1884 in Delhi Daily Gazette).

PENNSYLVANIA

Irwin, 1884 – Opera House   

On Jan. 2, 1884, the Pittsburgh Post-Gazette reported, “The stage scenery came from the popular firm of Sosman & Landis, Chicago” (page 8).

Tunkhannock, 1883 – Opera House

On Oct. 19, 1883, the Tunkhannock Republican reported, “The manager of the Opera House, F. H. Piatt…has ordered new scenery from Sosman & Landis, well known scenic artists of Chicago, which he expects to put up soon” (page 3).

TEXAS

Austin, 1883  – Opera House

On July 5, 1883, Austin American-Statesman reported, “Mr. H. C. Barrow, from the celebrated scenic studio of Sosman & Landis, Chicago, was in our city yesterday for the purpose of consummating arrangements with Manager Millett for additional scenery to the already large stock of his opera house” (page 4).

Burnett, 1884 – New Opera House

On March 11, 1884, the Austin American-Standard reported, “Messrs. Sosman & Landis of Chicago, are painting the scenery for our new opera house” (page 1).

Dallas, 1884- Opera House (Barrow, salesman).

On Aug. 20, 1884, The Herald announced, “Henry C. Barrow, scenic agent, and opera-house architect and contractor, is in the city” (page 4).

Fort Worth, 1884 – Opera House (Barrow, salesman).

On May 19, 1884, The Fort Worth Daily Gazette identifies Henry C. Barrow as “opera-house architect, and contractor, of Dallas” (page 8)

Galveston, 1884 – Opera House (Barrow, salesman).

On June 3, 1884, The Galveston Daily News reported, “H. C. Barrows, scenic agent, of Chicago, is in the city, and gave THE NEWS a call yesterday. He comes to put in a bid for refitting the Opera House” (page 8).

Jefferson, 1883  – Taylor Opera House (Barrow, scenic artist).

On March 1, 1883, the Tri-Weekly Herald reported, “Mr. H. C. Barrows, scenic artist from Chicago, just has completed for the Taylor Opera House, in Jefferson, one of the handsomest stages and scenery to be found in Texas. There are fifteen scenes in all, embracing two beautiful drop curtains, ten regular scenes, and a number of set pieces, set house, garden wall, balustrades, &c. Mr. B. has also done some beautiful frescoing on the Proscenium front, In company with a number of Jefferson gentlemen, we visited the Taylor Hall yesterday morning, all of whom were delighted with the work. It cannot be excelled in artistic finish, completeness and excellence of prospective, equaling the best scenery in large cities. Mr. Barrow has just completed Ghio’s Opera Hall, at Texarkana, and is likely to capture every place he goes to where stage scenery is required. It is admirable. We repeat: there has been nothing like it in Texas before Mr. B.’s advent” (page 2).

On March 6, 1883, the Tri-Weekly Herald reported, “Mr. H. C. Barrow with Sosman & Landis scenic studio, of Chicago, Ill. Is here and will soon refit our opera house with a full set of scenery and new drop curtain with advertisement of our leading business firms painted thereon” (p. 3).

Marshall, 1883  – Opera House (Barrow, scenic artist).

WISCONSIN

Janesville, 1883  – Myer’s Opera House (Buhler, scenic artist).

Oshkosh, 1883  – Opera House (Graham and Moses, scenic artists).

It is understandable that Sosman & Landis recognized their employer’s high profit margins, as opportunity to share the profit if one were willing to strike out on their own. Like Moses, others briefly left the firm and establish their own scenic studios. In many cases, Sosman & Landis continued to work with these former employees, often offering them an incentive to run the firm’s regional office, in addition to their new business. Such was the case with the new scenic studio of Graham & Davis in 1884. Lem L. Graham and Will P. Davis left Sosman & Landis to establish their firm in Kansas City, Missouri. They never directly competed against their former employer, and often represented the firm in western projects. In other words, they also ran the Kansas City branch office for Sosman & Landis. However, it appeared to the public as two completely separate entities.

In 1883 Graham had become quite well-known in the Kansas City area when his name made headlines in 1883. That year, Sosman & Landis landed the contract for the new Gillis Opera House. On Sept. 8, 1883, The Kansas City Star reported, “As stage carpenter, Mr. Claude Hagan, one of the most expert in his profession in the country, has been engaged. He has been employed in the best theaters in the country for years and last year traveled with the Hanlons who required the most complicated stage machinery. He superintended the setting of the Gillis stage, and it is said that what he don’t known about a stage isn’t worth knowing. Mr. Lem Graham is the scenic artist and none who see the scenery exhibited at the Gillis will for a moment doubt his ability” (page 1). Graham and Hagen continued to work together, both continuing their association with Sosman & Landis.

With Graham and Davis’ departure, there were two new openings in the scenic department at the firm’s main studio in Chicago.  Henry C. Tryon and Charles Boyer joined the paint staff in 1884. Tryon had recently left a position at The Salt Lake Theatre in Utah. Tryon, his brother Spencer, and William Morris, had painted new scenery for the renovated space.  Tryon left Salt Lake City mid-September 1883. On Sept. 17, 1883, the Deseret News announced, “Good Bye – Mr. Henry C. Tryon, the skillful scenic artist, leaves for the East to-morrow. Besides his remarkable talent he is the innate possessor of a genial disposition and a mind remarkably free from that species of petty jealously by which otherwise capable men too often dim the luster of their capacities. He has made numerous friends here whose best wishes he carries with him. Good bye” (page 3).

As their shop was staffed with well-experience individuals, both Sosman and Landis took to the road, securing even more orders and scouting for new employees. A few of their travels were mentioned in newspapers as arrivals at local hotels. For example,

On March 24, 1883, The Osh Kosh Northwestern reported, “Perry Landis, the scenic artist from Chicago, visited the studio of Edmund Osthaus and his sister, when here, was so much pleased with the flower work by Miss Mary Osterhaus that he gave her an order for a large piece of work. He pronounces her painting excellent” (page 4).

While business increased at the studio, friendships blossomed among the staff. On June 15, 1884, Sosman & Landis scenic artists Moses, Young, Morange and Maratta went on a sketching trip to Colorado. Moses published in the Palette & Chisel newsletter years later. His series of five articles was entitled “Tom Moses’ Trips: Breckenridge, Col.” Early in 1884, Thomas G. Moses accepted quite a bit of “night work” that subsequently funded his travel that year.  At the time he was twenty-eight years old. The ages of his traveling companions were as follows:  John H. Young (26 yrs.), Edward A. Morange (19 yrs.), and Hardesty C. Maratta (20 yrs.).

I have written about this trip over the course of several posts in the past, but here is the beginning of his story as it provides a reason for the adventure. Moses wrote, “John H. Young, Edward Morange, Hardesty Maratta and myself talked and planned for over a year regarding a trip to the mountains of Colorado. In our every day work of Scenic Painting we were called upon to paint all kinds of mountain scenes, and, as we had never seen a real mountain, we had to rely upon photographs or magazine cuts for our ideas. So we were, naturally, anxious to see the wonderful piles of rock and earth.” The four scenic artists travelled from Chicago to Breckenridge, staying for a few weeks in the mountains. In the end, Moses wrote, “On our return trip we looked like a bunch of tramps, happy and ready for our old work.”

Here are links my five posts about his trip.

In addition to forming close friendships with his colleagues, Moses also became attached to both Sosman & Landis. In 1884,  Moses moved to the same street as the Landis. Of the move, he wrote, “Mr. Landis prevailed on us to move to Centre Avenue, next flat to theirs. We did so, and it cost us considerably to furnish the flat, including a piano. We thought we deserved it; as the old one that was given to us as a wedding present had become impossible. We had saved considerable money.” Landis’ young wife was out of her element and in a marriage with a husband who was constantly on the road or planning with his business partner. She was from a small town without any support network. Moses’ wife Ella was also from a small town but had the benefit of small children and nearby in-laws. It makes sense that Landis would have also seen the similarities and hoped that Ella would help ease his wife’s discomfort in new surroundings.

This added a layer of complexity to Moses’ relationship with his employers. Although he would repeatedly strike out on his own over the years, Moses maintained extremely close ties to Sosman, Landis and their families.

To be continued…

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman & Landis, 1881-1882

Copyright © 2023 by Wendy Waszut-Barrett

There were two newspaper articles published about Perry Landis on Jan. 27, 1881.

Perry Landis, pictured in 1889 Sosman & Landis catalogue.

The first article appeared in Joseph S. Sosman’s hometown newspaper, in Macomb, Illinois. It announced Landis’ recent marriage. At the time, Landis was living with Sosman at 177 S. Peoria St. in Chicago. Sosman remained at the address after the marriage, with Mr. and Mrs. Landis renting a few doors down, at 173 S. Peoria. In 1883, they all moved one block west, living at 155 S. Sangamon. Understandably, this situation did not last for long. By 1885, Sosman returned to his previous home at 177 S. Peoria, with the Landis’ living a few blocks to the west, at 104 Centre av.

On Jan. 27, 1881, Sosman’s hometown newspaper, The Macomb Journal, announced:

“LANDIS-FESSLER. At Shelbyville, Indiana., Jan. 13th, 1881, by Rev. J. G. Chaffee, Perry Landis, of Sosman & Landis, Chicago, and Miss Nora Fessler, of Shelbyville.

When we opened the letter containing the above announcement, saw the well known handwriting of J. S. Sosman, and the word married, we thought sure enough ‘Joe’s married as certain as a gun.’ But further investigation showed it only came near enough to be his partner. Never mind, Joe, it don’t always simply ‘graze’ a fellow. At present, however, content yourself in the felicity of Mr. and Mrs. Landis” (page 5).

Also on Jan. 27, 1881, the Clinton Republican of Wilmington, Ohio, reported, “Perry Landis, of the firm Sosman & Landis, the gentlemen who furnished the scenery for our City Hall, has been in town for the past few days. He proposes, provided the Council are willing, to place an extra curtain in front of the stage at the hall free of charge. The pay to come from advertizers who have their cards inserted on the margin” (Jan. 13, 1881, page 3).

Over the span of less than two weeks, he married, moved his wife to Illinois, and was back to selling scenery in Ohio. During this same period, the firm not only ran a series of nationwide advertisements, but sent salesmen on the road from one town to the next. The idea was to sell advertising spaces on a drop curtain and gift the finished product to a local theater.  A drop curtain, paid for by local businesses, was one way to “get your foot in the door.” It often resulted in much larger orders for stock scenery and touring productions. Brilliant marketing strategy.  The community and theater owners just needed to see your work and how it compared with existing scenery. In all cases, their work was leaps and bounds above existing stock created by local sign painters. Advertising curtains were guaranteed income as the money was collected before the product was installed.

Here are two examples from early in 1881:

On Feb. 21, the Portsmouth Daily Times in Ohio published, “Sosman & Landis, scenic artists of Chicago, Ill., are soliciting advertisements for a new drop curtain to be painted for Wilhelm’s Opera House.”

On March 17, 1881, Fayette County Herald in Washington, Ohio, reported, “Messrs. Sosman & Landis, of Chicago, hung the new drop curtain in Music Hall last Monday. It is a very pretty piece of work. A beautiful Venetian scene occupies the center, and across the top, bottom and sides are arranged the business cards of prominent firms, painted in attractive and artistic style. The whole presents a very fine appearance and is an improvement over the old curtain” (p. 5).

Orders poured in at such a rate that Sosman & Landis rapidly increased their staff. Keep in mind that Moses was the first scenic artist hired at Sosman in 1880. Nine years later, the firm employed a staff of twenty-five artists, in addition to managing regional branches all across the country.

Of the scenic art staff in 1881 Moses wrote, “The others were able to draw more, because they were better in the artistic end, but I had it over them all when it came to speed.”  And because of this speed, Moses became the best candidate to send on the road. After all, you want someone who is fast, as it keeps the expenses down, the profit margins up, and the clients happy.

Sadly, this also meant that Moses spent long periods away from his family. He was starting to realize that he was in a losing position; making less money than before and spending less time with his family. This became apparent by the onset of 1881, with Moses writing, “1881 opened with a restless feeling for me. I wanted to do something to get more money.” When Moses was in Chicago, he also painted for Lemuel L. Graham at the Academy of Music in Chicago, writing, “I enjoyed the work, even if I had to do it evenings and Sundays.  I received good pay for this, which all helped.  The plays were mostly of the melodramatic order and required a lot of scenery. Sosman and Landis knew I was helping Graham and seemed to be pleased that I was forging ahead.” By the summer of that year, Graham was also working for Sosman & Landis.

Graham and Moses painted scenery for the Academy of Music in Minneapolis, Minnesota. As with all projects for Sosman & Landis, a stage carpenter was sent on site, ahead of the artists, to prepare the space, install stage machinery and superintend the final installation. In Minneapolis, it was Charles S. King.  

King was an extremely gifted, well-respected, and nationally-renowned stage carpenter when he stared working at Sosman & Landis. He installed scenery at the Minneapolis Grand Opera House earlier that year. On Jan. 27, 1881, Minneapolis Star Tribune explained that Mr. King “is regarded as one of the best stage-carpenters in the country, having had a wide experience and possessing perfect knowledge of his profession. He says our opera house will have the finest stage, the easiest worked, and will be the best appointed of any theater west of Chicago, or of many large eastern cities (Jan 27, 1881, p. 5).

Grand Opera House, Minneapolis, MN, 1885. Minnesota Historical Society.

It was likely the success of this project that landed the Academy of Music work.

Academy of Music, Minneapolis, Minnesota. Photo by William Henry Illingsworth, 1874. Minnesota Historical Society.

On August 20, 1881, The Minneapolis Journal reported:

“THE ACADEMY OF MUSIC.

Beautiful New Scenery Ready for the Public Gaze – General Renovation of the Auditorium.

Manager Herrick last evening invited the members of the press, lit up the Academy of Music and exhibited the new scenery painted under Sosman & Landis, of Chicago by Graham & Moses. Everything is new from the drop curtain to the smallest bit of stage illusion. The drop curtain in the center shows a framer of the same size as that which formerly contained the group of dyspeptic cadavers who so long exposed to the public gaze that their consumptive frames in the midst of a mad revel incited by one consecutive glass of beer and a bunch of grapes. The new painting represents a scene in Normandy with a cotter’s home in the foreground and grand old mountains in the rear, one of the hill-tops crowned with an ancient ruin. The coloring and lights and shadows in this picture, as in all the scenery, is soft and pleasing. The large frame surrounding the picture is draped with a representation of a lace curtain drooping in graceful folds and parting on either side to show a large vase of flowers. The drop which is revealed as the curtain is rolled up, represents heavy white silk drapery trimmed with rich fringe, while on each side are looped curtains of cardinal velvet, edged with ermine. The proscenium arch pillars are new and handsome. There have been added some fifteen new scenes among them; the street scene, representing the times of ’76; the ‘center door fancy;’ ‘the plain chamber;’ ‘the oak interior.’ The ‘palace arch’ with its beautiful effect; ‘the dungeon scene,’ grim with skulls, rusty chains, and heavily barred windows; ‘the cottage flat;’ ‘the drawing room;’ ‘the rocky pass,’ etc., etc. The painters have been especially happy in their out-door scenery; the trees and shrubbery standing out in bold relief, so that one is led to wonder why the timid maiden, coy and fair, does not seek shelter behind their friendly trunks when ‘the villain still pursues her.’ The scenery is all new, every piece of it, and the Academy is to-day as fully equipped as any similar theater in the country and certainly none can boast of more artistic worth in their scenic effects” (page 1).

For more information about this venue, visit: https://twincitiesmusichighlights.net/venues/academy-of-music/

Moses became very canny about getting his name in print, in addition to the name of the firm. He must have realized that this was key to securing his own future career as a scenic artist.  Many studio artists remained nameless throughout the duration of their life, sole credit going to the firm where they worked.

This was an incredibly exciting time at the firm as they rapidly became the largest scenic firm in the country. Between the summers of 1881 and 1882, the firm delivered scenery to seventy-four venues in nineteen states and three territories. This number did not reflect other projects for touring shows or local productions.  We only know of this number as a list of scenery installations was published in Sosman’s home town of Macomb, Illinois.

On July 14, 1882, The Macomb Journal reported:

“SOSMAN & LANDIS – A Leading Firm in Their Line in Chicago – The Senior a Macomb-Raised and Educated Boy.

“Nearly all the county readers of the Journal know ‘Joe’ Sosman, and that he is in Chicago in the scenery-painting business, but few, if any, are aware of the prominence of the firm of which he is the senior partner. ‘The News Letter,’ a paper devoted to the theatrical interest, in an article not long since, gave some account of the prominence and business of the firm, which article we append below. We know it will be perused with interest by hundreds of the ‘Journal’ readers, who have a lively solicitude not only for Mr. Sosman, but for every McDonough county boy who goes out in this great world to carve his fortune, his head and hand being his only capital. Here is the article:

One of the surest indications that Chicago is fast becoming one of the most important dramatic centers in America is the evidence before us, that in all matters pertaining to the theatrical profession Chicago has become, so to speak, a manufacturing center. Theatrical printing, etc., have long been staple industries, but of late years, matters which hitherto might have been considered as peculiarly belonging to the great metropolis of the East, have taken prosperous root in Chicago. Among the industries we refer to is that of fitting up opera houses and out of town theatres.

Some five years ago, Messrs. Sosman & Landis, a firm composed of a couple of enterprising young fellows established in this city what they termed a scenic studio. The beginning gave them a good deal of hard work, but in the period we have mentioned above, their business has grown from comparatively nothing to being one of the most important of its description in the United States. This all speaks volumes for Chicago as a theatrical center, and say what we may, there is no disavowing the fact that next to New York city, Chicago is without a question the most important locality in America in all matters pertaining to general amusement affairs.

Perhaps no better recommendation could be given to the firm we have referred to above than the information which is contained in their circulars to managers, and which tells the actual number of houses they have fitted-up since the first of June, 1881. We give the list as a matter of curiosity as much as anything else:

New Opera House, Rockford, Illinois

Academy of Music, Minneapolis, Minnesota

Grand Opera House, Richmond, Indiana

Hill’s Opera House, Ann Arbor, Michigan

Humblin’s Opera House, Battle Creek, Michigan

Union Opera House, Kalamazoo, Michigan

Russell’s Opera House, Bonham, Texas

Brownsville Opera House, Brownsville, Texas

My Theatre, Fort Worth, Texas

Leach’s Opera House, Somerville, Tennessee

Kahn’s Opera House Boliver, Tennessee

King’s Opera House, Jackson, Tennessee

Stummer’s Hall, Washington, Georgia

Vicksburg Opera House, Vicksburg, Mississippi

McWhinney’s Opera House, Greenville, Ohio

Yengling Opera House, Minerva, Ohio

City Hall, Athens, Ohio

Freeman’s Opera Hall, Geneseo, Illinois

Odd Fellows Hall, Peshtigo, Wisconsin

Hyde’s Opera House, Lancaster, Wisconsin

Klaus’ Opera House, Green Bay, Wisconsin

Storie’s Opera House, Menominee, Wisconsin

Holt’s Opera House, Anamosa, Iowa

King’s Opera House, Hazleton, Iowa

Opera House Nanticoke, Pennsylvania

Opera House Athens, Georgia

Opera House Gainesville, Texas

Opera House Reidsville, North Carolina

Edsell Opera House, Otsego, Michigan

New Opera House, Howell, Michigan

Stouch Opera House, Garnett, Kansas

Germania Hall, Blair, Nebraska

Bennett’s Opera House, Urbana, Ohio

Klaus’ Opera House, Jamestown, Dakota

Opera House, Westville, Indiana

City Hall, Mineral Point, Wisconsin

City Hall, Lewisburg, West Virginia

Opera House, Denison, Iowa

Opera House, Nevada, Ohio

Opera House, Hoopeston, Illinois

Opera House, Cambridge, Illinois

Turner Hall, LaSalle, Illinois

Kolter’s Opera House, Wausau, Wisconsin

Opera House Moberlv, Missouri

Krotz’s Grand Opera House Defiance, Ohio

Opera House, Montague, Michigan

Opera House Eutaw, Alabama

Opera House, Greyville, Illinois

Opera House, Carthage, Illinois

Masonic Hall, Macomb, Illinois

New Hall, Good Hope Illinois

Music Hall, Eau Claire, Wisconsin

Temperance Hall, Seneca, Illinois

Opera House, Jefferson, Iowa

Opera House, Waupaca, Wisconsin

Soldiers’ Memorial Hall, Milwaukee, Wisconsin

Opera House, Mexia, Texas

Opera House, Wilson, North Carolina

Opera House, Newbern, North Carolina

Opera House, Goldsboro, North Carolina

Grand Opera House, Cheyenne, Wyoming

Cosmopolitan Theatre, Miles City, Montana Territory

Arbeiter Hall, Ludington, Michigan

Opera House, West Bay City, Michigan

Opera House, Detroit, Minnesota

Opera House, Lockport, Illinois

Opera House, Fort Atkinson, Wisconsin

Opera House, Grass Lake, Michigan

Opera House Demopolis, Alabama

Opera House, Unionville, Missouri

Opera House, Harrodsville, Kentucky

Opera House, Hancock, Michigan

City Hall, New London, Ohio

Opera House, Stevens’ Point, Wisconsin

A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen, at this time, give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.

We take some little pride in the success of these gentlemen. It has always been, and still is, our ambition to see Chicago ahead in all matters pertaining to western dramatic affairs, and the unusual success which has attended the venture of Messrs. Sosman & Landis is a feather in the cap of our wishes.

It is true that much of the success attended these gentlemen has been due to the fact that they have proved entirely reliable in all their transactions, and that their work has always been of the very best. They take contracts to fit up the entire stage of any new house in course of erection, and we venture to say from undoubted information that no contract that they have ever undertaken has proved aught but most highly satisfactory. With their success the success of Chicago as a dramatic center is blended, and we are more than glad to see that to-day, in nearly every opera house in the West, which is under erection, the contract for fitting up the stage has been let to Sosman & Landis.’

The article mentions “five of the best scenic artists in the United States” and “their large corps of artists and stage carpenters.”  Studio staff at this time included Thomas G. Moses, Lemuel L. Graham, William P. Davis, Harry Barrow C. Barrow, Charles S. King, and Cyrus M. Crouse, and C. W. Corey.   There were certainly more individuals on staff, but I have yet to identify them.

In 1881, the firm placed numerous advertisement in newspapers across the country. No other scenic artist or studio placed advertisements at this scale. They certainly reaped the benefits of a successful marketing campaign. Here are two examples that appeared in Ohio and Texas newspapers.

On April 15, 1882, The Cincinnati Enquirer published the following advertisement:

This same advertisement was placed two weeks earlier in The Galveston Daily News on April 1, 1882 (page 3).

Sosman & Landis also began to refurbish and sell old scenery. Clients seldom had use for old scenery, especially after a stage was enlarged. The firm listing used scenery for sale.

On Feb. 11, 1882, The Cincinnati Enquirer announced, “FOR SALE – SCENERY FOR HALLS – Elegant drop curtain, 15 scenes, necessary wings, borders, &c., 23 pieces in all; new and artistic; a bargain. SOSMAN & LANDIS, 277 S. Clark st., Chicago, Ill.

A similar advertisement was published on May 6, 1882, again in The Cincinnati Enquirer:

“FOR SALE – DROP CURTAIN- Elegant drop curtain and set of scenery. 18 pieces in all; only $125. SOSMAN 7 LANDIS. 277 and 279 S. Clark st., Chicago” (page 3).

Moses was constantly on the road that year. On September 7, 1881, he celebrated the birth of their second child from afar, writing, “Ella was in Sterling with her mother…This baby girl was a reminder that I would have to earn more money, so the firm gave me $26.00 per week, as I did a great deal of extra work, all on the day rate, I never received more than straight time.”

Keep in mind that many of Moses’ scenic art colleagues were making $35 to $45 a week. This “extra work” for the firm kept Moses away from outside projects; projects that would pay much more. Studio work continued to be combination of in-studio and on-site work, with teams of artists working together. In 1881, Moses mentioned working on the road with both Graham and Davis.

Moses and Davis delivered a large stock scenery collection to the Richmond, Indiana. Davis was also a very skilled stage carpenter and mechanic.

On Sept. 19, 1881, The Evening Item described the newly refurbished Grand Opera House (p. 1). Of the Moses’ work, the article reported, “There has been added as scenery one fancy set chamber, four wings; one set plain chamber, four wings; one kitchen, and one prison, each four wings; one wood, six wings; one landscape, one perspective street, one rocky pass, one horizon, one ocean, one garden, one grand drapery border, one set tormentor wings and doors, three drapery borders, two kitchen borders, three foliage borders, one set cottage, one set bridge, four set rocks, one tree, two set waters, one foreground, one garden wall, one balustrade, two statues….the scenic work was done by Sosman & Landis, of Chicago. The drop curtain, by Thomas G. Moses is the finest piece in the entire work and really a work of art.” Moses’ assistant, William P. Davis, would later go on to establish the Twin City Scenic Co. in Minneapolis. Davis was likely one of the artists that dropped by as business increased.  In 1880, Davis was listed as an artist, living at 193 W. Van Buren. The Sosman & Landis studio was located at the intersection of Clark and Van Buren Streets. Moses also lived at 744 W. Van Buren.

Over the course of the next few years, both Moses and Davis left Sosman & Landis to partner with Lemuel L. Graham; Moses in 1883, and Davis in 1885. Graham also worked for Sosman & Landis at this time.  All three were working for the firm in Chicago during 1884.

On Sept. 28, 1882, the Unionville Republican in Missouri reported, “The grand opening of Roth’s New Opera House in this city will take place the middle of October, at which time George Kendall’s Grand Dramatic and Comedy Company will give three entertainments. The new scenery from the studio of Sosman & Landis, the celebrated Chicago artists will be used for the first time on opening night” (p. 3). The firm’s work was extremely popular with the community. On Oct. 12, 1882, the Unionville Republican reported, “Messrs. Sosman & Landis, of Chicago, at whose studio the work was done, have fitted out nearly all of the leading Opera House in the west, and their scenery both as to beauty and effectiveness ranks among the best in the country. The work they have done for Mr. Roth is no exception and will be a source of genuine surprise and pleasure to our citizens when the opportunity is offered them to inspect it. The outer drop curtain has a beautiful painting in. the center representing a scene on the Nile, with the ruins of an Egyptian temple in the background. In the foreground a group of dusky Arabs are standing near the waters edge near the ruins of a second temple. The inner curtain presents a charming illustration of one of the famous Swiss lake scenes, with an old Castle in the foreground. Beyond the broad waters of the lake the rugged mountains rise in the background giving the whole scene a beautiful winning aspect. The blending of colors in both scenes is exquisite. The scenery embraces eight distinct scenes as follows: Parlor, Kitchen, Street, Woods, Prison, Landscape, Ocean and Garden. Also, four interior wings, four exterior wings, one grand drapery, two sky borders, three set rocks, and one set cottage. Under the manipulation of a skillful stage manager many other combinations may be arranged out of the scenes. The opera House is in truth a little gem, both a credit to our city and its enterprising owner” (p. 3).

The firm’s stage carpenters were critical for on-site work and frequently mentioned in local newspapers. On Oct. 12, 1882, the Unionville Republican reported, “During the past week, Mr. C. S. King, of Chicago, one of the most experienced stage carpenters in that city, has been busy arranging the stage fittings and mounting the scenery, and by the first of next week everything will be in readiness for the opening” (p. 3). To date, I have only located seven stages that credit King with the construction. They include the Grand Opera House and Academy of Music in Minneapolis Minnesota (1881), Roth’s Opera House in Unionville, Missouri (1882), Ragsdale Opera House in Newton, Kansas (1885), Myar’s Opera House in El Paso, Kansas (1886), Crawford Grand Opera House in Wichita, Kansas (1888), and the Crump Theatre in Columbus, Indiana (1889). Yet by 1889 he was credited with over 200 stages for the firm. This means that King was one of many stage carpenters employed by the firm in the 1880s. It would make sense as King was not only a skilled stage carpenter, but also a scenic artist. In 1882 the Chicago Directory listed King ‘s residence as 320 W. Van Buren. This is the same street that was home to Moses and Davis.  

Another long-term Sosman & Landis employee working at the time was H. C. Barrow. On October 11, 1882, The Atlanta Constitution announced, “Mr. H. C. Barrows, representing Sosman & Landis, scenic artists of Chicago, put in Scheurman’s opera house a new and beautiful advertising drop curtain. The work on this curtain is nicely executed and presents a fine appearance. In the centre is a very handsome southern landscape scene, and around the border is decorated with 14 nicely arranged business cards representing different firms in the city. This curtain does not interfere with the regular drop curtain but can be used as a change at intervals during entertainment. Its cost is about one hundred and fifty or seventy-five dollars and may be classed strictly as both useful and ornamental” (p. 2). Scheurman’s Opera House was in Griffin, Georgia.

Other projects completed by Barrows over the years included: the Taylor Opera House in Jefferson, Texas;  Ghio’s Opera Hall in Texarkana, Texas; the Capital Opera House in Little Rock, Arkansas; the Pine Bluff Opera House in Pine Bluff, Arkansas;  the Academy of Music in Fort Smith, Arkansas; the Van Buren Theater in Van Buren, Arkansas; an academic hall in Salem, Illinois; the City Hall in Frederick, Maryland; the Springer Opera House in Columbus, Georgia; the Opera House in Vicksburg, Mississippi; and the Opera House in El Paso, Texas.

Cyrus M. Crouse (1837-1899) was also on staff near the beginning. In 1880, his residence was only a few doors down from the studio, at 253 Clark. Over the years, newspaper articles listed Corey as a stage architect, stage carpenter and master mechanic. On September 2, 1882, the “Montgomery Advertiser” listed Corey as the stage architect for a new theatre in Montgomery, Alabama. This was possibly his first project with the firm. On Dec. 1, 1882, the “Pensacola Commercial” reported, “Mr. C. W. Corey, stage carpenter, of Chicago, Ill., arrived in the city last Wednesday, and has gone to work with a good force on the stage of the new opera house, and will have it ready for Ford’s company, who have an engagement here beginning on the first of January” (page 3). Both Barrows and Corey were working together in Vicksburg, Mississippi, when Sosman & Landis delivered scenery and stage machinery to the opera house. For this project, Barrows was painting, with Corey installing the scenery.

The Sosman & Landis staff in 1881 and 1882 relied on several individuals who could work on projects as either scenic artists or stage carpenters. This was key in keeping overhead down as the firm tried to amass funds to build a studio.

Other Sosman and Landis projects not listed in the 1882 Macomb article, those completed early in 1881 and late in 1882, included opera houses in: Appleton, Wisconsin; Moberly, Missouri; Topeka, Kansas; and Strong City, Kansas. Of the stage in Appleton, Wisconsin, The Nennah Daily Times reported, “The new opera house in Appleton is first-class…There are twelve changes of scenery painted by Sosman & Landis, of Chicago” (9 Dec 1882, p. 4). On Dec. 21, 1882, the Emporia Republican in Kansas reported that the Strong City Opera House had “been fitted up by Sosman & Landis, scenic artists of Chicago, and it is a gem of an opera house” (page 1).

In the early 1880s, Sosman & Landis were taking the nation by storm. By 1882, Sosman & Landis also managed offices in Chicago, New York, and Kansas City.

To be continued…