Copyright © 2019 by Wendy Waszut-Barrett
Walter W. Burridge was a good friend and colleague of Thomas G. Moses. In 1887, they established the scenic art firm Burridge, Moses and Louderback, with well-known art dealer Walter Louderback. In 1914, Burridge died after sketching scenes of the Grand Canyon for two months. His work was part of the Santa Fe Railroad’s $300,000 exhibit for the Panama-Pacific Exposition in San Francisco. Many newspapers covered Burridge’s death and burial, but it was the “Brooklyn Daily Eagle” that provided a wonderful recount of his achievements (Brooklyn, NY, 26 June 1913, page 20). Although I have written extensively about Burridge in the past, this is a lovely summery of his life:
“WALTER W. BURRIDGE SCENIC ARTIST DIES.
Brooklyn Man Succumbs to Heart Disease at Albuquerque, New Mexico.
STOOD AT TOP OF PROFESSION.
Was Engaged on Big Contract for Panama Exposition When End Came.
Word was received in Brooklyn today, that Walter W. Burridge, one of the foremost scene painter of his time, has been found dead in a hotel in the little city of Albuquerque, N.M., yesterday. Death was attributed to heart disease super induced by acute indigestion. Mr. Burridge had just arrived in Albuquerque from the Grand Canyon, where he had been painting pictures for two months. He was 56 years old.
Walter Burridge was a Brookylnite, born and bred, and very well known as a painter of theatrical scenery. In 1903, he executed at the Academy of Music the largest scenery contract ever awarded to a scenic artist. $200,000 worth of scenery, including eighty complete sets and 300 hanging pieces, was turned out under his supervision. The work was done for Henry W. Savage, manager of the Castle Square Opera Company. Its most important feature was the preparation of special sets of scenery for each one of the operas in the Castle Square Opera Company repertoire. One of the pieces he completed was the magnificent storm scene in the first act of Verdi’s ‘Othello.” It was considered the piece de resistance of all the scenic effects ever produced at the Academy.
Mr. Burridge had, at one time or another, been associated with all the prominent actors and actresses in the country, among them Otis Skinner, Julia Arthur and Margaret Miller.
Mr. Burridge’s father, Henry, was the proprietor of the old Mason’s Arms Inn, on Myrtle Avenue, which was noted in its time as a resort for artists and actors. The leading lights of both professions met there frequently and the boy learned to know them well.
Young Burridge had a magnificent soprano voice and sang as a choir boy in St. Anne’s Church, the Church of the Redeemer, and St. John’s Church, where he was solo singer. His voice bade fair to connect him with the stage in another capacity than that of a scenic painter.
As a boy, Mr. Burridge helped produce the scenic waves at the old Park Theatre, by doing stunts on his hands and knees under a layer of canvas, The old theater carried with it many pleasing reminiscences for him. There he met Fred Chippendale and his wife. Later, at the Brooklyn Theater, which stood on the site of the present Eagle building, he was fortunate enough to attract the attention of Harley Merry, who was a great scenic artist of his day, He was apprenticed to Merry at the age of 13 and scored his first success by painting a water fall that had to be gotten out during his master’s absence.
Mr. Burridge did most of his work in the West. Thirty-five years ago, he painted many cycloramas. For the Philadelphia Centennial he painted the ‘Siege of Paris,’ and supervised the reproduction of the well-known ‘Battle of Gettysburg.’ He also executed a Government commission in Hawaii. He was sent there to paint a cycloramic picture of the great volcano, Kilauea, which was part of the Government exhibit at the Chicago World’s Fair.
Hugo Gerber, manager of the Lee Lash Studios at 1476 Broadway, Manhattan, who knew Mr. Burridge well, said today that he received a telegram from the West confirming the news of the death of Mr. Burridge. ‘His wife was with him at the time,’ he said. ‘Mr. Burridge had been working for us lately and had been sketching in the Grand Canyon. He was preparing some very important work there for the Panama Exposition, but I don’t know the details of it.
‘We expected Mr. Burridge to return East in a short time. The telegram we received was from his wife. It did not state the cause of death.
‘Mr. Burridge had done much big work for Klaw & Erlanger, but principally for Henry W. Savage. One of the last pieces of work he did was painting the scenery for ‘The Trail of Lonesome Pine.’ He was one of the most prominent scenic painter in the country.”
Burridge was survived by his wife, son Walter, two brothers, Cyril and Harry Burridge (New York and Marblehead, Mass.), and a sister, Miss Sarah Burridge (of Brooklyn). The loss of this artist in the prime of his career was immeasurable, a shock to the fine art and theatre worlds. He had so much potential and the Grand Canyon exhibit was to be one of the pinnacles of his career.
There is so much more to Burridge’s story and his accomplishments that I could not include in today’s post. However, I will end with a quote from Burridge in 1902:
“Did you ever stop to think,” said Walter Burridge, one of the best-known scenic artists in the country, “how the public says all kinds of nice things about some popular theatrical production and throws bouquets at everyone connected with it, except the man who painted the scenery? Of course the man doesn’t care a rap for fame. His soul is wrapped up in his work; he never comes before the gaze of the public, and never wants to. But at the same time, it is a curious fact that the scenic artist is an individual whose personality never becomes known to the public. If he paints a particularly beautiful scene it never fails to elicit round after round of applause. The people who are applauding, however, do not know who executed the painting, and they don’t care. It is pretty and that is enough for them.” When Burridge was interviewed by Chicago’s “Inter Ocean” on June 8, 1902, he was putting the finishing touches on the scenes that were to be used in the production “The Wonderful Wizard of Oz” that was opening at the Grand Opera House the next week (page 42).
To be continued…
There are many good quotes from Walter Burridge.
It is so nice to find any interviews, as it provides a snapshot into their personality and their approach to art.