Tales from a Scenic Artist and Scholar. Part 789 – George F. Schultz at the Sosman & Landis Studio, 1911

In 1911, Thomas G. Moses wrote, “Got Geo. Schultz on the staff at 20^th Street.” This was Sosman & Landis’ annex studio, a separate shop from their main studio on Clinton Street.

George F. Schultz was well known for his landscapes and marine scenes in both fine art galleries and upon the stage.

A child of immigrants, his father came from Germany and his mother from Canada. Schultz was born in Chicago on April 17, 1869, and began his career as a decorative painter in Chicago. As a souvenir decorator, Schultz’s specialty was china decoration. This initial trade provided training as Schultz grew and began to take classes as a student at the Art Institute of Chicago.

The 1888 Chicago City Directory, listed Schultz’s occupation as an artist and his residence at 2163 Archer Ave. in Chicago. Schultz began exhibiting his work around this time and by 1892, he exhibited some of his work at O’Brien’s Gallery. This was a shop that he ran with fellow artist William Wilson Cowell in 1893 on Chicago’s Rush Street. Schultz was featured in a solo exhibition at Thurber’s Gallery in 1896, again exhibiting at there in 1898. In 1896, “the Chicago Tribune” reported , “Last summer he visited Monhegan Island, the favorite resort of Edwards. Triscott, and other Eastern artists, away up on the Maine Coast. Most of the pictures he now shows are Monhegan views and the result of his sojourn. Many are coat scenes. In nearly all rocks abound, and Mr. Schultz has been eminently successful in catching the effects of sun and shadow on sea and land and rocky shore. One of the pictures, “A Misty Morning,” the artist calls it, is a really powerful bit of color work such as is rarely attained with aquarelles. The sun breaking through the mist and the softened aspect of the rocks are presented with such strength as many a man would have difficulty showing in oils” (16 Feb 1896, page 28).

Later, in 1898, the “Chicago Tribune” advertised his twenty-five paintings on exhibition at Thurber’s, including “Gray Day, “ “Along the River,” “Hoeing Cabbages, “A Lowery Day,” “Quietude,” and “Morning” (10 April, page 43). An illustration of “Hoeing Cabbages” even accompanied the article. Although primarily known for his watercolor studies, Schultz also worked in oils. An article in the “Inter Ocean” commented on Schultz’s “delicate, loose and pleasing” technical skill. His work “Reflections,” appeared in the March issue of “Brush and Pencil.” The 1904 City Directory still listed Schultz as an artist, an occupational title that would remain throughout the duration of his career. Regional sketching trips included Delavan, Wisconsin during the 1890s, with later travel bringing him to Indiana, the coast of Maine (Monhegan Island) and even Mexico.

Like many Sosman & Landis artists, Schultz’s work was continuously exhibited in fine art exhibitions. He was a member of the Art Institute of Chicago, exhibiting over one hundred works at the AIC annuals, between 1889 and 1925. Schultz also belonged to the Palette & Chisel Club, the Municipal Art League of Chicago, the Arche, the Cliff Dwellers, and the Union League Club during the early twentieth century. He was also the president of the Water Color Club. Schultz also exhibited Converse at the Carnegie International in 1914 and the Pennsylvania Academy of the Fine Arts in 1916. By 1918, he received the William H. Tuthill Prize of $100 at the Art Institute in Chicago.

In 1906 works Schultz were accepted as part of the Palette and Chisel Club’s permanent collection.  This is likely where Moses first met Schultz prior to hiring him on staff at Sosman & Landis. Around this time he also began painting woodland scenes, a possible result of his working with and for Thomas G. Moses at Sosman & Landis Studios. Art historian, Dr. Wendy Greenhouse, purports Schultz use of “bright color, rapid brushwork, dappled sunlight, and garden settings beloved of American adherents of impression.” These same artistic characteristics are the hallmark of many early twentieth-century scenic artists, and considering he was working at Sosman & Landis studio during this period, one has to wonder if studio work invaded his fine art work. Much of the Chicago scenic art community not only worked together, but also studied and socialized together. Throughout the decades, scenic artists gathered in town and planned sketching trips to hone their artistic skills for a variety of artistic projects, including theatrical settings, grand circus spectacles, panoramas, industrial fairs, and fine art exhibitions.

Schultz’s exhibited several watercolor paintings in a solo exhibition at the Art Institute in 1907. That same year he became a charter member and secretary of the Chicago Water Color Society, being elected as the club’s president in 1912.

Six years later in 1918, Schultz was awarded the Tuthill Prize in the Art Institute’s annual exhibition of watercolor paintings. In 1919 the Marshall Field and Company department store exhibited his work; this became recognized as his last-known solo exhibition.

In regard to Schultz’s personal life, he raised a family in Chicago, after marrying Katharine Karr Hagenlotha on Sept. 20, 1883.The 1910 census lists his marriage to Katherine and their renting a house at 1158 Perry Street, Chicago, Ward 26, Cook, Illinois. This same census lists Schultz’s occupation as an “artist” who worked in the “picture paint” industry. Schultz was head of the household, with other members being Beatrice (b. 1895, age 15), Katherine R. (b. 1898, age 12), George F. Jr., (b. 1900, age 10) and Florence (b. 1908, age 2).

Schultz’s wife Katharine wife was also an Illinois native, with immigrant parents from Germany (father) and Switzerland (mother). By 1920, the couple was still married and living in another rental home at 4013 Green View Ave., still listing Schultz’s profession as “artist.” Their children were still living at home, with Beatrice working as a clerk in the Oil Concern industry, the younger Katherine working as a stenographer in the Building Waters industry, and George Jr. working as a tire-maker in the automobile Pates industry. The youngest child, Florence, was still listed as attending  school.

Ten years later, everything changed for Schultz. The 1930 census listed George Schultz as a divorced male, although he was sill working as an artist “working on account.” He was now living in another rental unit at 1521 Warren Boulevard.

I have been unable to find any information about Schultz after 1930, including any obituary. This may indicate his being in poor circumstances or being estranged from his family at that time. Although art historians list his death in 1934, nothing is offered in terms of any public tribute.

To be continued…