Part 526: Raphael Strauss of Noxon & Strauss
Thomas G. Moses wrote, “J. Francis Murphy was an assistant to Mr. Strauss, who was the artist at Hooley’s Theatre in 1874. The well-known illustrator and water colorist, Charles Graham, was also an assistant to Mr. Strauss at this same time.”
Raphael Strauss was Thomas C. Noxon’s first partner, establishing the scenic studio Noxon & Strauss in St. Louis, Missouri, during 1868. The company lasted for approximately four years, running from 1868 to 1872. In 1868, Noxon & Strauss painted a setting for “Seven Sisters” at the Olympic Theatre (The New York Clipper, 25 April 1868, page 6).
Strauss and Noxon were both immigrants. Noxon was born in Montreal, Canada, during 1829, and moved to Ohio as a child. At the age of sixteen, he traveled to St. Louis to continue his artistic studies. Noxon worked as a decorative painter, itinerant artist, and studio artist, establishing four scenic painting firms throughout his career: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey. At the time of his passing in 1898, the “Dramatic Mirror” reported, “His name appears on the corner of theatrical curtains in almost every large city in the country, and is also seen in the theatres of Europe” (2 July 1898, page 6). In 1872 Noxon & Strauss were still working together in Chicago at Hooley’s Theatre; the partnership ended sometime after that.
Many scenic artists worked in Chicago after the great fire of 1871, decorating a variety of new buildings as the city rebuilt itself. Noxon & Strauss led painted the new drop curtain and scenery at Hooley’s Theater. “The Chicago Tribune” reported, “The drop curtain will fill the entire stage opening, and is being painted by Noxon & Strauss. The design will be the castle and town of Heidelberg, surrounded by drapery” (10 Dec. 1872, page 8). An “Inter Ocean” article further described the painting, “The original drop curtain design depicted a scene from Heidelberg surrounded with painted drapery. The picturesque castle and town suggesting European origins was common for the time, as many compositions harkened to the old world” (Chicago, Illinois, 14 Sept. 1872, page 4). This drop curtain that was later replaced during 1874 by Strauss, with Murphy and Graham as his assistants. Moses watched as the second drop curtain was created as he gilded the opera boxes while working for P. M. Almini.
By 1878, Strauss was working with Charles Witham. They provided the new scenery for “Uncle Tom’s Cabin” at the Grand Opera House in San Francisco, California. The opera’s new season was inaugurated with the “reconstructed version” of “Uncle Tom’s Cabin.” “The Clipper” reported, “The scenic effects by Witham and Strauss were beautiful and realistic pictures.” (23 Feb. 1878, Vol. 25, page 383).
Raphael Strauss (1830-1901), was a German-American artist who worked throughout the United States during the middle and end of the nineteenth century. Strauss was both a writer and artist, producing landscapes, portraits, miniatures and tinted photographs. Born in Bavaria, Germany, he trained in Munich. Strauss arrived in Cincinnati, Ohio between 1857 or 1858. He was consistently listed in the Cincinnati directories from 1859 until his passing in 1901.
It was the German-American artist, John Auberg (1810-1893), who suggested Cincinnati to Strauss, as he had immigrated a decade earlier, settling in Cincinnati by 1853. There was a large German population of the city. John Auberg also became known as Jean Aubery. Born in Kassel Germany, he first moving to the United States in 1848. Prior to his departure to America, he completed numerous portrait and church commissions throughout Europe. After his arrival in Ohio, he advertised as both a portrait artist and tinter of photographs.
During 1859 Strauss tinted photographs alongside Ausbery, Israel Quick, David R. Hoag, Williams Porter and Allen Smith Jr. They all worked at 100 West Fourth Street in Cincinnati. In 1862, the group divided, resulting in two firms: Hoag & Quick and Porter & Strauss. The partnerships lasted throughout the Civil War years. Strauss’ art studio was located at the corner of John and Everett Streets. He traveled throughout the region as an itinerant artist; working on various projects that included scenic art, miniatures and portraits. As many of his colleagues, Strauss was both a fine artist and scenic artist.
By 1869, Strauss again shared a studio in the second Pike Opera House Building; Aubery, Quick, Adrian Beaugureau, Frank Duveneck, and Dwight Benton were among the artists. (The Cincinnati Enquirer, 12 Feb. 1933, page 49). This six-story structure replaced the first Pike’s Opera House after it was destroyed by fire in 1866. The second Pike’s Opera House theater was located on the second floor, with offices above, located on Fourth Street between Vine and Walnut streets. It was similar to the first entertainment venue, but was expanded to cover an entire city block.
During the 1880s and early 1890s, Strauss continued to share a studio with Aubrey in the Pike’s Opera House Building at 152 West 4th Street. Their studio became a local salon for artists and art lovers alike. In his final years, Aubrey was known as “the ancient Aubrey,” while nurturing younger artists in Cincinnati’s “over the Rhine” community.
Strauss’ worked was exhibited at the 1863 Western Sanitary Fair, the Cincinnati Industrial Expositions (1871 and 1873), and the Art Institute of Chicago (1897). He later became vice president of Cincinnati Art Club. By 1895 he was still active with the group as its secretary (The Boston Globe, 27 Oct. 1896, page 28).
Strauss passed away in Avondale at the age of 71. His residence was 565 Hale Avenue. Strausss’ obituary reported, “He was a prominent in art circles, being a member of the Cincinnati Art Club and the Order of B’ne B’rith. Mr. Strauss leaves a widow and four children. Phillip Strauss, Mrs Julius Freiberg and Mrs. Dan Goldstein of this city, and Joseph Strauss, of Chicago” (The Cincinnati Enquirer, 8 May 1901, page 7). Joseph B. Strauss was a structural engineer and designer who revolutionized the design of bascule bridges He established the Strauss Bascule Bridge Company of Chicago and later became the chief engineer of the Golden Gate Bridge, passing away only one year after the bridge’s completion. Strauss’ widow of 43 years was Caroline Baermann. Once a pianist, an accident ended her concert career.
To be continued…
