Copyright © 2019 by Wendy Waszut-Barrett
Much has been written about Jesse Cox, the scenic artist purported to be the inventor of the Diamond Dye process for scenery. Cox’s obituary even credits the artist as the “originator of commercial dye painted scenery for theatrical productions.” His obituary details Cox’s process that involved mixing dye with warm water, making it “possible for scenery to be much lighter in weight and transported more conveniently.” I highly doubt that Cox was the first scenic artist to use commercial dyes on scenery, especially when looking at his birthdate and timeline. However, I do believe that he popularized the process, if only through sheer self-promotion.
There is also no question that the Diamond Dye manufacturers would have been thrilled to have Cox as a poster boy for their company, however there is no clear evidence that suggests Cox was the inventor of the process. Even the Jesse Cox Scenic Company’s early twentieth-century catalogue makes no mention of their specializing in dye scenery or Cox’s reputation as the inventor of this unique scene painting process. I have to wonder when the Diamond Dye process of painting scenery became specifically associated with this artist, as the earliest mention that I have uncovered to date is 1936. To all indications, Cox’s story was shared at a time when he was reflecting on his own history, and contributions to the world of scenic art. I am reminded of the erroneous credit given to Lee Lash for his invention of the ad drop. Over time, facts blur and history is carefully shaped by those who gain the most from its telling.
Here is a little background about Cox that was included in his 1961 obituary:
Jesse Matthew Cox was born on March 3, 1878, in Seneca, Illinois, the son of Mr. and Mrs. Spencer Cox. One of five sons born to the couple. His eldest brother was James, and his younger brothers were George, Chauncy and Spencer Jr. The family moved to Estherville in 1891. At the time, Jesse was at the age of 13 years old. Initially, he worked for his father, but soon became interested within the next three years, going on the road as an actor at the age of 16. He initially toured with the [Warren G.] Noble Dramatic Shows of Chariton. As many young performers involved with touring productions at the time, Cox also performed as a musician and assisted in other technical duties. It was while on tour that Cox became interested in scene painting, likely out of the company’s necessity for additional settings. There is no indication that he became a scenic artist by going through any traditional training or apprenticeship program.
After touring, Cox worked as an itinerant artist in Chicago, Minneapolis and St. Paul, spending several seasons in the Twin Cities. It is reported that Cox returned to Estherville to settle down, painting “great quantities of scenery” there and shipping much of it to California and Texas. Local newspapers cite that his return to Estherville coincided with the decline of demand for road shows. In Estherville, Cox started a scene painting studio in the old Lough opera house, the same venue where he once worked as a prop boy before going on the road with Noble. Cox had little luck with studio locations throughout the duration of his career, as the first was destroyed by fire and the second razed by a tornado. Cox’s third studio was located at 606 N. 12th St. There he worked with his son Robert, primarily making scenery for theaters and high schools, but also completed many sign painting projects. The firm’s business gradually expanded to include neon signs. His company continually diversified as the demand for painted scenery continued to decline. This was the case with most scenic studios that survived the Great Depression. In regard to neon signs produced by the studio, in 1942 the Estherville Daily News announced, “The Jesse Cox studio has been busy the past week building the first complete neon sign to be fabricated in Estherville” (22 Sept 1942, page 1). The sign was made for the Hossack Motor Company.
Cox’s scenic art and performance career was supplemented with entertainment news. He and his brother George established and edited the Opera House Reporter, an entertainment industry trade paper, from 1898 to 1907. In the greater scheme of things the establishment of the publication coincides with his development of the Diamond Dye process and touring on the road. The dates just don’t add up when compared to newspaper accounts. The Opera House Reporter included a variety of information, such as office reports from theaters and general theatre advertisements. The Cox brothers are also credited with running the first movie projector in the state of Iowa. They were quite an innovative and busy pair.
Of his personal life, Cox was twice married, first to Mabel Gerberick and second to Carrie Beaty in 1939.
Cox died at the age of 83, a longtime businessman and member of the Estherville City Council. His health was failing for some time, with his passing being attributed to the “complications of advanced age.” Cox was an active member with the Knights of Pythias and the Benevolent and Protective Order of Elks. His assumed high offices in each fraternity, with achieving the Elk’s rank of Exalted Ruler.
Cox’s professional and personal memorabilia are on display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. Even his accordion is on display. The museum’s library includes an article written in 1990 by Michael Kramme for Palimpset, a publication advertised as Iowa’s popular history magazine (Winter issue). His article “Opera House Illusions: Jesse Cox and Theatrical Scenery” was included in Vol. 71, No. 4 (pages 154-172). Kramme credits Cox as “the inventor of a system of painting theatrical scenery that revolutionized the industry.” Unfortunately Kramme gives no specific technical information or dates to support this statement. Again, I question the legitimacy of Cox’s claim to fame as the inventor of the dye system of painting scenery.
The earliest mention that I encountered in my research describing Cox’s dye process is in an article from the Estherville Enterprise on 9 Sept. 1936 (page 2). The article reports, “There is a very interesting story connected with the [Jesse Cox Scenic Studio]. Jesse Cox, the owner and operator, when a very young man was a trouper with Nobles’ Stock company for seven years. While following the road and assisting in handling massive curtains, Mr. Cox conceived the idea of painting scenery with diamond dyes. These could be folded and packed in a trunk and were much easier to carry. During the summer of 1899 Mr. Noble sent Mr. Cox to Estherville on pay and in the old low opera house, the young man designed and painted the first diamond dye scenery, now popular the world over. Later Mr. Cox closed with the Noble Company and started the business of scenery painting. He has shipped scenery to every state in the Union and from New York City to San Francisco can be found scenery labeled in the corner, The Jesse Cox Scenic Studio, Estherville, Iowa. The largest scene Mr. Cox ever panted was 24 x 150 feet for the Robinson Bro. Circus. Many of the largest traveling companies have used Mr. Cox’s scenery but the outstanding feature is the fact that he conceived the idea of diamond dye scenery which is now used extensively throughout the world.”
My research does not suggest that Diamond Dyes were that extensively used for scenery production in the United States at the time.
What I found interesting, however, is that the 1900 census lists Cox’s profession as “actor” and not “artist” or “scene painter,” as was the case with other scenic artists at the time. By 1900, he was editing the Opera House Reporter and supposedly running a scenic studio, as well as working in other cities throughout the Midwest.
In Kramme’s article he describes, “Cox developed and patented a process of painting scenery with heated dye rather than paint.” However, some of his scenery on display at the Theatre Museum is clearly painted with dry pigment and his paint table has pots of dry pigment too. In terms of a patent, there is a Jesse Cox that designed a hay knife. There are quite a few “Jesse Cox” individuals living at the same time in the United States. Kramme goes on to explain, “His technique remained a trade secret. But the result, vivid color that would not peel, crack, or rub off, was shared nation-wide as owners of opera houses and managers of acting companies bought lavish sets of scenery.” I am perplexed that his use of Diamond Dyes on cotton sheeting would require any trade secret. The preparation for dyes in scene painting is pretty consistent. Furthermore, aniline dyes had been around for a while and were widely used in the theatre industry for variety of effects. By the 1860s chemical aniline dyes were readily available. The process for preparing dye to use in scenic art is not like dying yarn or clothing fabrics where different mordants baths shift final color results when fixing the dye.
I also have to point out an alternative to dye in theatrical scenery. When applied properly, and in thin coats, dry pigments result in vivid colors that will not peel, crack or rub off. The English practice of glazing scenery results in lightweight and foldable scenery. See past posts that distinguish between the two schools of scenic art that were established in the United States. When using thin coats of dry pigment, the fabric remains pliable. I known this first hand because the scenery that I transported to Europe this summer in my luggage was folded and crushed during transport without any harm to the painted composition or permanent wrinkles. The only problem is when dry pigment is applied in thick coats or with strong size water. Thick coats of paint also make scenery heavy to transport.
Keep in mind that there are historic scenes well over a hundred years old whose colors remain stable and can easily be folded without irreparable damage. It all depends on the application coat and strength of the binder at time of manufacture and subsequent environmental conditions. The biggest threat for scenery painted with dry pigment and diluted hide glue remains water damage and high humidity, ultimately causing the breakdown of the binder and reactivating the paint. This causes as much damage as poor preparation of colors or size during the initial painting of each scene. Not every scenic artist or potboy thoroughly understood the preparation of paint or binder. In many instances, corners were cut, and the life expectancy of the scene was ephemeral at best. I always think of the Demotivator © poster defining the word mediocrity: “It takes a lot less time and most people won’t notice the difference until it’s too late.”
To be continued…
