Month: February 2020

Copyright © 2020 by Wendy Waszut-Barrett

By the 1950s, DuBois had returned to Kansas City, Missouri. In 1954 DuBois was noted for painted a stage backdrop depicting “a reproduction of the temple of Aesculapius on the island of Cos, off Asia Minor, where the practice of medicine began with Hippocrates” for the Medical student center at Kansas University’s J. R. Battenfeld Memorial Auditorium in Kansas City. (The Kansas City Times, 5 April 1954, page 14).

DuBois also began working for the Great Western Stage Equipment Co. and painting Masonic scenery. This brings the Great Western Stage Equipment Co. into the storyline.

The Great Western Stage Equipment Company (GWSE Co.) was founded by T. L. Greening, L. J. Adler, and Samuel F. Hann, after Greening resigned from the Twin City Scenic Company. Established in Kansas City, Missouri, during 1925, the first listing that I have located for the firm was published in Topeka’s “The Stage and Screen” (Topeka, Kansas, 30 Nov, 1925, page 5). The GWSE Co. Was listed as providing the scenery for Ted North’s North Players production of “The Only Road” at the Grand Theatre. In 1927 the firm delivered scenery and draperies to the Sedalia Theatre in Sedalia, Missouri (Sedalia Democrat, 30 January, 1927).

In 1930 there is a new individual is associated with the company, Edgar L. Gossage of Pierce City. He was mentioned in the “Pineville Democrat” as representing the firm when they were awarded the contract for the Pineville High School (Pineville, Missouri, 14 Nov. 1930, page 1). Competitors at the time included Oklahoma City Scenic Co. and John C. Becker Stage Equipment Co. of Chicago.

During the 1930s the Great Western Stage Equipment Co. was located at 817 Holmes St., Kansas City, Mo. The company advertised in 1932 Patterson’s American Educational Directory (Vol. XXIX). This directory is about as significant as “Julius Cahn’s Official Theatrical Guide” at the turn of the twentieth century, providing insight into theatrical suppliers, as educational institutions become a major clientele. GWSE Co. advertised alongside American Scenic Studios (Buffalo, NY), B & B Scenic Studio (Cleveland, OH), Beaumont Studios (NYC), Wm. Beck & Sons Co. (Cincinnati, OH); Robt. P. Carsen Scenic Studios (Chicago, IL), Cincinnati Stage Lighting Co. (Cincinnati, OH); Conrad & White Co. (Indianapolis, IN), Archie B.  Craig Scenic Studios (South Boston, Mass.), Herfurth Scenic Studios (Cincinnati, OH), Kansas City Scenic Co. (Kansas City, MO), Lee Lash Studios (NY), Novelty Scenic Studios (NYC), Pausback Scenery Co. (Chicago, IL), Queen City Scenic Studios (Buffalo, NY), Rochester Scenic Studio (Rochester, NY), Schell Scenic Studios (Columbus, OH), Schneider Studios, Inc. (NY), Sheck & Co. (Cleveland, OH), Shields Studio (St. Louis, MO), O. L. Story Scenic Co. (Somerville, Boston, Mass.), Tiffin Scenic Studios (Tiffin, OH), Twin City Scenic Co. (Minneapolis, MN), and Wass & Son (Philadelphia, PA). Note the two major studios that led the industry up to WWI are missing from this list – Toomey & Volland (St. Louis) and Sosman & Landis (Chicago).  The driving force that kept many studios busy was dramatic productions and school theatricals that also began renting scenery.

Very few GWSE Co. projects are mentioned in the newspaper during the 1930s, as schools become their main target; there was really no need to advertise in newspapers during the Depression. Contracted projects announced in the newspaper includes a stage in Great Bend, Kansas (1938), a school in Marysville, Kansas (1938) and a school in Hutchinson, Kansas. New alliances were formed, and during 1938 Phil Thatcher, president of the Thatcher Supply and Equipment Co of Topeka, Kansas, was representing the firm. On behalf of the Great Western Stage Equipment Co, Thatches was bidding on stage equipment (Marysville Advocate, 17 Nov. 1938, page 1).

By 1939, the GWSE Co. placed a congratulatory note and advertisement in conjunction with the opening of the Illinois Theatre in Jacksonville, Illinois (Jacksonville Daily Journal, 8 May 1939, page 22). Thomas L. Greening was still with the firm, listed as Treasurer and Manager at 817 Holmes Street. The incorporation date of 1926 was noted in advertisements, offering scenery, electrical, draperies, stage rigging and accessories for schools, colleges, theatres, movies, lodges, churches, pubic auditoriums, outdoor theatres, traveling shows, display rooms, expositions and tent shows.

During the 1940s projects included the Home Theatre in Oklahoma City (1946), the Go-Show theatre in Clinton, Missouri (1947), a school in Tremonton, Utah (1948), and the South School in Neodesha, Kansas (1950). . In Oklahoma City the GWSE Co. received a rather large project for a Cooper Foundation theatre called the Harber (Daily Oklahoman, 1 July 1951, page 69). By 1951, project load once again increased, along with the building boom following WWII. The country was investing in education and entertainment; the greatest generation opened their pocketbooks for their children and those who would follow. Positions opened up at the firm, advertising for stenographers, switchboard operators, bookkeepers, men who were mechanically inclined with carpentry skills,

The company’s main focus remained schools and civic centers, with projects in Lake Park, Iowa; Decatur, Illinois; Lubbock, Texas; Totonka, Iowa; Independence, Iowa; Garden City, Kansas; Miami, Oklahoma; Waterloo, Iowa; Moline, Illinois; St. Joseph, Missouri; Davenport, Iowa; Decatur, Illinois; Freeport, Illinois; Rock Island, Illinois; Iola, Kansas; Alton, Illinois; Carbondale, Illinois; Emporia, Kansas; and elsewhere. Frequent competitors during this time were Texas Scenic Co., Texarkana Scenic Co., Northwest Studio, and Metropolitan State Equipment.

In 1956 there was a new division of GWSE Co., Great Western Fabrics, offering half-price remnants for sale. They sold velvets, fine hand prints and assorted fabrics for “pillows and many other uses, advertising “red hot” bargains at 1324-1326 Grand in Kansas City (The Kansas City Times, 26 Sept, 1956, page 46).

It is around this time that DuBois begins working in earnest for the company, focusing on new scenery for Scottish Rite theaters in the Kansas City and the southeast.  Fraternal work begins to pour in, but DuBois is nearing the end of his career. Although the scenery for a handful of Scottish Rite theaters represents a lifetime of experience as a scenic artist, isn’t with the company long.

DuBois passed away on 26 March 1964, and is buried at Forest Hill Cemetery in Kansas City, Missouri.

Then came the big fall for the Great Western Stage Equipment Co. In 1968, Newspapers all over the country announced “Price Fixing Charge Filed.” Here is the article:

“WASHINGTON (UPI) – The Federal Trade Commission Thursday provisionally accepted a consent order prohibiting two Midwestern stage equipment companies from conspiring to fix prices and allocate territories and customers. The order cites Great Western Stage Equipment Co., Inc. of Kansas City Missouri, and its president Edgar L. Gossage, and the Metropolitan State Equipment Co., Inc. of Omaha, Neb., and Donald W. Beck and Carl W. Winter, resident and vice-president respectively. The firms sell, manufacture and install stage curtains, rigging, lighting apparatus and other stage equipment. The complaint charged that all the parties participated in a conspiracy under which Metropolitan and Great Western agreed not to compete with each other in certain areas. It also said Great Western and Gossage had prevented competitors from bidding effectively on proposed projects by manipulating terms and specifications. Under order, Great Western and Gossage are forbidden to prepare terms or specifications of proposed stage equipment projects wit the purpose or effect of denying competitors fair opportunity to submit competitive bids” (The Springfield News-Leader, 21 June 1968, page 14).

In the 1970s there are only a few mentions of the company. In 1976, the Great Western Stage Equipment company advertised for a drapery workroom supervisor (Kansas City Times, 15 Feb 1976, page 65). They placed an ad for a seamstress at their Great Western Textiles division that same year (Kansas City Times, 20 Feb 1976, page 22).  Then news about the company went silent until the 1990s, when it was mentioned again in the touring exhibit, “Theatre of the Fraternity,” featuring Masonic designs produced by the company as part of an exhibit about Scottish Rite theatre.

Prof Emeritus C. Lance Brockman assisted in the acquisition of the Great Western Stage Equipment Company collection for the University of Minnesota Performing Arts Archives. This is the first collection that I catalogued as a recipient of an Undergraduate Research Opportunities Program grant. The Great Western Stage Equipment Co. collection primarily contains Masonic designs. However, there are many commercial theatre designs with a Great Western Stage Equipment Co. stamp in the Twin City Scenic Co. Collection, also in the Performing Arts Archives.

Here is a link to the GWSE Co. online collection: https://umedia.lib.umn.edu/search?facets%5Bparent_collection_name%5D%5B%5D=Great+Western+Stage+Equipment+Company+Collection+%28PA044%29

Back to the life and times of Thomas G. Moses in 1916 tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Don Carlos DuBois moved from Kansas City to Atlanta in 1921 and founded the Atlanta Scenic Co. On Sept. 27, 1922, the “Atlanta Constitution” reported providing scenery for the third act of “Iolanthe” at the Atlanta Theatre. The article described it was “a stage setting of rare beauty…showing the ocean in the background with an ocean liner steaming across a harbor” (page 4). The Atlanta Directory listed Don Carlos DuBois as a scenic artist living at 4, 72 Hurt.

By 1924, DuBois became one of five faculty members added by Stuart Beebe and Gus Forbes to their to Atlanta School of Stage Arts (The Atlanta Constitution, 27 July 1924, page 28). DuBois was in charge of classes on stage settings and color schemes. As an instructor and company president, DuBois was at the top of his game and took the region by storm. Atlanta Scenic Studio advertisements offered “Artistic” stage settings, practical stage equipment, and velour curtains.

During the summer of that year DuBois’ scenic studio was gaining ground. They began competing against Sosman & Landis in earnest and it was the perfect time to win contracts. Sosman & Landis had closed the year before, with Thomas G. Moses and Fred R. Megan purchasing the name of the studio. The studio giant was on shaky ground and could no longer effectively compete against many regional studios.

The two companies competed for a southern contract to provide scenery and stage equipment at Birmingham’s Municipal Auditorium (Birmingham News, 26 June 1924, page 30). The work was awarded to the Atlanta Scenic Company and included “the placement of scenery, curtains, rigging, etc. for the new municipal auditorium” (Birmingham News, 4 July 1924, page 9); Atlanta Scenic Co. designed, painted, and installed four new sets for the venue (Birmingham News, 1 Oct. 1924, page 4). Of Atlanta Scenic Co. and its president, the “Birmingham News” reported, “Mr. DuBois is known as one of the foremost scenic artists in the country. He furnished the Atlanta auditorium and many other auditoriums in the South and has handled the work of hundreds of school auditoriums.”

Advertised as the “finest municipal auditorium in Dixie,” the “Birmingham News” described the new auditorium on October 19, 1924 (page 56). They quoted DuBois: “We had the honor to supply the velour drop, the asbestos curtain, the stage settings and the operating equipment for drops and scenic effects, including 65 sets of lines. Inspired by the beauty, dignity and magnitude of this building, we have given Birmingham our best and are proud of the distinction of having our work in your auditorium. We create and manufacture artistic front drops, refined stage settings, practical stage equipment and velour curtains for all kinds of theatrical, school and municipal work.” 

By 1925, the Atlanta Scenic Co designed furnishings for the new picture theatre in Atlanta’s West End Theater, providing red velvet draperies, noted as combining “a pleasing blend of shapes and colors” in this 500-seat venue (Atlanta Constitution, 24 Nov. 1925, page 22). At this same time, they delivered stage settings and draperies for the big Macon auditorium in Macon, Georgia. Of the work, the “Atlanta Constitution” commented, “The stage settings and draperies for these theaters were designed and placed by the Atlantic Scenic company…they have a fine force of artists and skilled workmen. The mural decoration for the Macon auditorium is one of the largest and finest pieces of stage work ever done in the south, being 10×60 feet. The work was done by Don Carlos DuBose [sic.], president of the Atlanta Scenic company, and Wilbur G. Kurtz, one of the foremost artists in America in this line. The handsome decoration is over the proscenium arch and portrays the salient features of Georgia’s history and in the central group are seen figures of Macon’s industrial progress, religious and educational advantages [Ferdinand DeSoto’s visit in 1540 until WWI]. The Atlanta Scenic company is doing much favorably to advertise Atlanta by the fine work they are doing in schools, churches and theaters all over the south. The builders of new buildings of all kinds that have in mind adding beautiful decorations of any kind are calling this firm in to add that artistic touch that gives a pleasing finish to the completed building. Schools and small theaters in all parts of the southeast know that this firm can fit them up with the stage settings, curtains, draperies and scenes and beautiful small and large sets may be seen underway at all times in their busy studio. Mr. DuBose [sic.] stated Saturday that many of the architects in the south were kind enough to recommend their work and any prospective builders have lately been calling on them and giving contracts for various kinds of decorations and that men from his studio were busy out in Atlanta while the home forces were executing designs of that nature here that could be sent anywhere as he further stated that a cordial invitation was extended to all interested people to call and see them or give them a ring t Ivy 2116 and any information will be cheerfully given.”  (23 Nov. 1925, page 12). Here is the link to the Macon City Auditorium where the mural still exists: https://www.maconcentreplex.org/auditorium/about-us/

In 1926, the Atlanta Scenic Co. delivered scenery to Tallahassee’s Florida State College for Women and the new Florida university building and Gainesville’s new Florida University building (Atlanta Constitution, 26 July 1926, page 8). DuBois was quoted again: “We have done much work in the south the past three years in that territory between the Potomac and the Mississippi, and without an exception we have done some very fine work in every place…another nice job was the Georgia State College at Milledgeville, where we furnished a complete stage equipment and beautiful curtain. We consider this the best college stage, bar none, in the state of Georgia. We also refer with pride to some work we have done in Athens, Bartow, Claxton, Elberton, East Point, Register, Brunswick, Waycross and Wadley, Georgia. The firm also outfitted the stages in theatres and schools in many places in the southern states, among them being Raleigh, Asheville, Fayetteville, Elizabeth City, Saint Pauls, Forrest City and Spindale, North Carolina; Easley, Laurens and York, South Carolina; Brewton, Ensley, Georgiana and Woodland, Alabama; Nashville and Johnson City, Tennessee; Jacksonville, West Palm Beach, St. Petersburg, Fort Lauderdale and Haines City, Florida. Beautiful full stage equipments and velour stage curtains are in progress of work now and some just completed for Saint Mary’s college, at Raleigh, N.C.; high schools in Marion, N.C.; Salisbury, N.C.; Birmingham, Ala.; Shaw, Miss.; Midville and Cuthbert, Ga., and the stage and equipment for Macon’s municipal auditorium. Stage equipment for the Atlanta Municipal opera; Agnes Scott college, and West End theater are all well known to Atlantans, yet few knew that this good grade of work is being done on the Gilmer street side of the auditorium. In addition to doing public stage work this firm has been decorating private homes, clubs and lodges.”

On Jan. 18, 1927, the firm placed an advertisement in the “Miami News” congratulating the Tivoli Theater management on the successful opening of their playhouse (Miami, Florida, 18 Jan. 1927, page 8). It noted, “It has been a pleasure to associate with the management of this fine new theater in our business of supplying all stage hangings and scenery.” That year, Atlanta Scenic Co. also manufactured and installed the stage settings at the Arcade Theatre in West Palm Beach (The Palm Beach Post, 7 Oct. 1927, page 9).

As an interesting aside, DuBois was formidable chess player and member of the Georgia-Florida Chess Association. In 1927, he attended the sixth annual convention of the Georgia-Florida Chess Association. By 1929, The “Arizona Republic” reported that Don Carlos DuBois of Atlanta, Georgia, placed third in the correspondence school chess tournament sponsored by the Southeastern Chess association (Phoenix, Arizona, 19 July 1929, page 11)

By 1930, the US census listed a Don Carlos DuBois living in the Militia District 532 DeKalb, Georgia, 1667 Camell Road, but this is where it gets a bit confusing. Don Carlos DuBois II and his son were both active in the military and worked as scenic artists for the Atlanta Scenic Co.

Don Carlos DuBois III (B. Feb. 14, 1913 in Cleveland, Ohio) was a graduate from the Riverside Military Academy (Atlanta Constitution, 12 March 1833, page 26). In March 1933, DuBois III married Cecile Marie Martin, who also lived in Atlanta, and the couple settled there. It is difficult to determine whether father or son is credited with a particular project, unless it is specified. In 1933, Atlanta Scenic Co. provided the stage settings for Joseph Selman’s production of “Br’er Rabbit,” adapted by Harold Selman from “Uncle Remus Creeturs.” The dramatization was by J. Roddy Miller from Joel Chandler Harris’ Uncle Remus stories (Index-Journal, Greenwood, South Caroline, 7 Nov. 1933, page 2). This was likely the son, but it remains unclear. Sometime during the 1930s, the Atlanta Scenic Co. closed, but I have not found the exact date. Many scenic studios closed during the depression as projects diminished. By the 1940s, Don Carlos DuBois II registered for the draft, listing his employer as ALCO-Gravure Corp and no longer representing the Atlanta Scenic Co. Before the war, the elder DuBois had also returned to military work.

The 1940 US Census listed DuBois was an officer in the U. S. Army. 2^nd engineer br. Justice Precinct No. 8. Bexar, Texas. His home was still listed as Atlanta. On Dec. 19, 1943. The “Atlanta Constitution” published an article about DuBois and Wilbur Kurtz (page 22):

“MARIETTA, Ga., Dec. 18.-Illustration of bomber parts and interpretation of blueprints are a  new trend in art and design, but it’s a way which artists Wilbur Kurtz, ‘Gone With The Wind’ technical and art director, and “Don Carlos DuBois, a retired Army officer, have found to adapt themselves to the war effort. Former classmates at art school Kurtz and DuBois now are converting their efforts and principles of drawing learned in school to visual training processes at the Bell Bomber plant here. They have changed their brushes, pallets, and props for blueprint pencils, scaling rulers, and dimensional tools. Just out of art school in Chicago, both artists attempted scenic painting. DuBois went to New York and made his first successful back-drop in the production “Girl of the Golden West.” Kurtz, however, returned to the south, where he concentrated on southern scenes and history, the latter being his accomplished hobby.

“At the outbreak of the war, DuBois, a World War veteran, renewed his commission as major in the Engineer Corps, and was attached to the Delta Service Command in Cairo. Recently, he was retired, and did the next best thing – applied for work in a war plant. Kurtz, after his success as technical advisor on the movie version of ‘Gone with the Wind,’ returned to Georgia to work in the art department at the Bell Bomber Plant. He intends to return to his art studio at the end of the war.” He did return to theatre work, but for a different company – the Great Western Stage Equipment Co.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett.

I cannot conclude the history of the Kansas City Scenic Co. without mentioning one of the firm’s more significant artists – Maj. Don Carlos DuBois.

Don Carlos Boyes was born on Dec. 24, 1883, in Seward City, Nebraska, son of Carlos Eugene Boyes (1841-1924) and Elsie Melissa Clark (1854-1941). His mother was the daughter of Rev. E. L. Clark, and from one of the earliest pioneer families in Seward whose 1865 arrival was by covered wagon.

Don Carlos was one of four children born to the couple. His siblings were Burdette Boyes (1974-1941), Elsie Pearlette Eugenie Selman (1876-1945), and Myrtle Esther Boyes, (1878-1958). Pearl Boyes Selman became a famous Shakespearean actress known throughout the south, later settling in Atlanta. Like her brother Don Carlos, she moved to Chicago to study theater. Pearl attended the Chicago dramatic art school before joining the Avon Shakespearean players and touring southern theaters.

Don Carlos Boyes changed his name, becoming Don Carlos DuBois II. I have yet to discover the time or his reason. His name change reminds me of Harley Merry, president of the Protective Alliance of Scene Painters of America in 1896. “Harley Merry” was his painting name. His real name and stage name as an actor was Ebenezer J. Britain (also Britton). In 1922, Don Carlos DuBois also billed himself as a French artist, but that is the only mention I have discovered (“Atlanta Constitution,” 5 Feb 1922, page 9).

In 1900, DuBois II moved from Seward City, Nebraska, to Chicago, Illinois, where he lived with his uncle, Damiel Bain (b. 1871). Bain worked for the Lumber industry and DuBois attended art school. DuBois was 17 yrs. old at the time. From 1902 until 1905, DuBois was a student in the Art Institute in Chicago. It is unclear whether his scenic training also began at this time. He continued his studied overseas, taking classes in Rome and Paris from 1905-6. Upon his return to the United States, DuBois worked with E. M. Gross, another scenic artist, in New York. Between 1907 and 1909, DuBois continued to work as a scenic artist. One notable project during this time was the Cleveland Hippodrome. 

He met and married, Mildred Herman, in 1908 (9 Sept 1885-15 Dec 1971). Mildred was and actress by trade and their wedding took place on Feb. 19, 1908, in Cuyahoga, Ohio. Mildred was also an immigrant, with public records noting her homeland as both Poland and Germany. She was the daughter of Carl Herman, a German, Efrosina Franslau, a Russian.

By 1910 the couple was living in Kansas City, with DuBois listed in the city director as a scenic artist, living at 299 W. 16^th Street. From 1910 to 1921, DuBois worked for the Kansas City Scenic Co. In 1914 the couple moved to 214 E 34^th Street and resided there until 1918. Their address remained in Kansas City until 1921 when they moved to the southeastern United States, settling in Atlanta where DuBois founded the Atlanta Scenic Co.

In 1921, DuBois was listed as a 2^nd Lieut., belonging to the 110^th Engineers, Missouri National Guard Headquarters at Kansas City, Missouri. He was included in the Roster of National Guard Engineer Officers, Nov. 30, 1921.

More about the Atlanta Scenic Co. tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Here is an updated post about John Ulrich Tschudi (1850-1921) and a recently discovered painting by the artist.

By 1890, the Kansas City Scenic Co. was mentioned in connection to a new opera hall project in Little River, Kansas. The “Little River Monitor” reported, “The carpenters work on the new opera hall is going on at a lively rate. Canfield & Co. are doing the work in good shape, Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job. The mammoth drop curtain is a beauty. It is ornamented with the business cards of our merchants and others, and will be first class in every particular” (16 June 1887, page 3).  Tschudi was a scenic artist who had worked in Kansas City since 1883.

I am going to take a moment and explore the life of John U. Tschudi, another immigrant who arrived in America during 1857. In 1881, Tschudi is first mentioned as being the scene painter who received the contract for the Whitley Opera House in Emporia, Kansas. He worked alongside J. W. Morris the stage carpenter.  They put in a complete set of scenes and the latest improvements in stage equipment. By 1882,  Tschudi was twenty-two years old and advertised as sign painter in Emporia. However, his advertisements soon announced that he was a fresco, scenic artist and sign writer (Evening News, Emporia, Kansas, 31 July 1882, page 4). He requested that people leave their sign orders at Moore’s Drug Store in town (The Evening News, 31 July 1882, page 4). Tschudi shipped ornamental signs across the country, even to Colorado and was associated with the Whitley Opera House (Emporia Daily News, 27 July 1882). As with many young and talented scenic artists, Tschudi soon partnered with Foreman, a stage mechanic and they delivered scenery to the Garfield Opera House in Kingman, Kansas (Kingman Daily Courier, 7 Dec., 1887, page 2).

Of his early life, Tschudi explained his background to a reporter in 1896, “I was born in Switzerland in 1852, but am an American artist. I came to the United States in 1857. My father was an artist in France and I, only one of eight children, am an artist. I was fond of it from childhood. When I was a boy I sometimes got punished for drawing comic sketches on the walls, and I would neglect my lessons to draw those pictures and frequently get kept in school on that account. (Daily Lexington, 24 Aug 1896, page 3). Other newspapers expanded, “After school days he studied with has father and assisted him with his work and soon developed such artistic taste in landscape painting that his father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ‘I returned to America and took a fancy to large work, and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad. My father was the famous fresco artist under the old masters in France for ten years. His work can be seen in France, Italy, Switzerland and America at the present time. He died in his 69^th year in New York” (Daily Leader, Lexington, Kentucky, 15 Aug, 1896, page 3).

When asked why he never changed the spelling of his name, he responded, “ I have no reason to be ashamed of it, as it is famous in Swiss history being the name of one of the oldest families on record and was borne by artists, generals and men of high rank, and at the present time there are a number of recognized artists in the family.”

In 1887, the “Wichita Star” reported “A reporter was shown the number of samples from scenic-artist work from the brush of Kansas City Scenic Artist company, in which company figures, as an artist, Mr. J. W. Tschudi, formerly of the city. The work is artistic and ranges throughout the entire term of scenic work. Landscapes, rocky passes, woods, streets, palaces, parlors, chambers, kitchens, hovels – in fact every known term of scenic effects were painted in the highest style of art   (22 March 1887, page 4).

In 1888, Tschudi, was working on his own and noted as being “beyond all doubt, the thorough, classical scenic artist in Kansas. His fine conceptions of mountain and sea, of glen and valley, of hill and dell, when spread upon canvass by his deft hand, are gems of beauty on which the eye fondly hangs. The COURIER heartily commends Prof. Tschudi to the managers of the Greensburg Opera House. By 1895, Tschudi was advertised as “one of the country’s finest artists,” and was delivering sizable scenes to the Phillips opera house in Richmond, Indiana (Richmond Item, 28 Aug 1895, page 3).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

The 1900 census listed Benjamin Dunn as a scenic artist; the 1910 census listed Benjamin Dunn as a proprietor of the Kansas City Scenic Co.; and the 1930 census listed Benjamin Dunn as the president of the Kansas City Scenic. Co.

There was another scenic artist with the last name of Dunn from Olathe, Kansas, one with Chicago connections – Frank Dunn. He was born around the same time as Benjamin F. Dunn and very likely a cousin.  So what was happening in Olathe?

To put the remainder of the Dunn story in perspective, Olathe was founded in 1857. It was a major stop along the Santa Fe Trail and on the Oregon and California Trail.   Up to six hundred wagons stopped weekly, as settlers continued west on their way to the gold fields or new homesteads. By 1873, three railroads served the community, and by 1875 the town’s population was up to 2,146.

An 1870 US census provides a little information about the eight-year-old Franklin Dunn of Olathe, Kansas. He was the middle of three sons born to James Dunn, a carpenter, and his wife Harriet. Frank’s brothers were William (10 yrs. old) and Arthur (6 yrs. old). A sister would later arrive in 1871, Mayane “Mamie” Dunn. Of the three boys, William Dunn remained in town, following in his father’s footsteps as a carpenter, Arthur Dunn became a traveling performer, and Frank focused on the backstage and decorative work.  

The 1880 census lists Frank Dunn as apprenticed to a Marble worker and living at 88 Willie St. This was common, as many young men were sent out to work at an early age, apprenticed to other families. The 1880 census also shows that his mother and sister were living on their own home that year, no sign of the father. Dunn’s new living situation was a bit odd. Joseph Hedrick, a 70-year-old widower and farmer, was the head of the household where Dunn was living. Dunn was apprenticed to Hedrick’s 24-year-old son, Hiram.   In the census, Dunn’s occupation was listed as “apprentice to marble worker,” but his relationship to the family is listed as “servant;” this adds another layer of curiosity. That year, however, Dunn turned 18 and he appears to have struck out on his own.

The earliest mention of Dunn’s artistic abilities are mentioned on Dec. 22, 1881, when Dunn was 19 years old. The “Olathe Mirror” reported, “Frank Dunn has drawn a painting of himself on the head of the Bass Drum, he thumps in the band, Frank is fast and becoming one of the finest portrait and scenic artists in the west. Work that he has executed with the brush will compare favorably with some that has received encomiums from press and voice all over the country” (Olathe Mirror, page 1).

By 1886, the Kansas City Directory listed “Frank Dunn” as a scenic artist working for Graham & Davis. Benjamin Dunn had worked there the year before in 1885. In 1886, Ben Dunn but was simply listed as a scenic artist, residing at 1210 e. 19^th st.

On Sept. 26, 1889, the “Olathe Mirror” reported, “Frank Dunn, of Kansas City is a former Olathe boy and scenic artist of wide reputation, has gone to Chicago where he has secured more remunerative employment” (page 7). The year before, Chicago’s “Inter Ocean” reported “On June 2, the Rev. J.J. Garvin united in marriage Frank Dunn and Miss Notlora Hurburt, of Chicago. (June 10, 1888). And that is where the trail goes cold for this couple. It is difficult to know if this is the same Olathe Frank, as there are many Frank Dunns living in Chicago; theatrical managers, painters, traveling salesman. It is almost impossible to know where he worked or resided, but he was mentioned three more times in Kansas newspapers during 1890.

On Feb. 6, 1890, the “Kansas Patron,” announced, “Frank Dunn, who is now a scenic artist in Chicago, was visiting his mother and sister here last week” (page 7). On Nov. 20 1890, the same paper noted, “Mr. Frank Dunn, the scenic artist of this city spent several days in Kansas City last week soliciting” (page 5).  On Dec. 4, 1890, the same paper noted, “Mr. Frank Dunn, the head of the Kansas City Scenic Company spent Sunday and Monday in Kansas City” (page 5). The “Kansas Patron” also reported, “The Kansas City Scenic company, with studio in the Grange building, has just completed a handsome drop curtain for the Haye’s Opera House of this city” (Oct 30, 1890, page 5).

Was it possible that Frank Dunn and John Bronaugh established the Kansas City Scenic Co., while Ben Dunn simply worked as a scenic artist for the company at first?  Remember in 1890, Ben Dunn was mentioned as representing the Kansas City Scenic Company, but simply as an artist.

On Jun 16, 1887, the “Little River Monitor” reported, “The carpenters work on the new opera hall is going on at a lively rate, Canfield & Co. are doing the work in good shape, Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job.” (16 June 1887, page 3).  It is unclear, which Dunn was working with Tschudi and Oldham, Ben or Frank.

We are only left with the 1931 obituary of Ben, and that raises some questions too.

Mr. Benjamin F. Dunn of 5817 Wornell Road in Kansas City died at two o’clock Monday morning at his home. He is survived by his widow, Mrs. Mattie Dunn, daughter, Miss Zula Dunn, and two sons, Benjamin Dunn, Jr., and James Dunn. He was president of the Kansas City Scenic Company which was founded in Olathe twenty years, prior to his moving to Kansas City.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

The earliest mention that I have located of the Kansas City Scenic Company is 1887. That year the “Peabody Gazette-Herald” reported, “The Kansas City Scenic Co., is putting in some fine scenery in Butler Hall this week, prior to Edwin Clifford theatrical entertainment, on Wednesday night” (April 28, 1887, page 4). Of the specific individuals associated with the firm in 1887, “Dunn” is mentioned twice. Three decades later, the “Jackson County Democrat” credits Ben Dunn and John Bronaugh as the proprietors of the Kansas City Scenic Company, “a concern which for many years has provided scenery for theatres throughout the country,” noting they were both raised in Olathe, Kansas (9 June 1922, page 3).  However, Ben is never mentioned as a company founder in the beginning, only a scenic artist. Dunn eventually becomes the company president, with Bronaugh working as the general manager and treasurer.

The firm’s history repeatedly mentions the establishment date of 1890, but Bronaugh is not mentioned until 1890. On Sept. 25, 1890, the “Kansas Patron” reported, “Mr. John Bronaugh, a member of the Kansas City Scenic Co., was in Olathe, the guest of B. F. Dunn” (page 5). Note that Dunn is not mentioned in connection with the company and Bronaugh is a “member,” possibly suggesting others.

The 1900 census listed Dunn as a scenic artist; the 1910 census listed Dunn as a proprietor of the Kansas City Scenic Co.; and the 1930 census listed Dunn as the president of the Kansas City Scenic. Co. But there was another Dunn from Olathe, Kansas, one with Chicago connections – Frank Dunn. It is possible that Frank and Ben were cousins.

Very little is known of Benjamin F. Dunn’s childhood or parents, beyond the 1922 “Jackson Country Democratic” article that states, “Benn Dunn was raised in Olathe and went to school with the owner of this paper, who reported that Ben put in a good deal of time drawing scenery of one kind of another, some horrifying to the vigilant teacher who often confiscated his works of art” (Olathe, Kansas, 9 June 1922, page 3). 

What I have pulled together from various newspaper reports, city directories and census reports is that Benjamin F. Dunn was born on Feb. 14, 1862, in Noblesville, Indiana.  His father was from Indiana and his mother was from Kentucky, with the couple moving to Olathe, Kansas, at an unknown date.  The first census record to include Benjamin F. Dunn is from 1900, well after he was married and with children.

The first mention B. F. Dunn in the Kansas City Directory is 1884. This year coincides with when Bronaugh, who is also recorded as moving to Kansas City from Olathe in 1884. That year, the “Le Cygne Journal” announced, “B. F. Dunn, whose artistic sign painting and Opera Hall decorations have been the admiration of La Cygne people, has gone to Kansas City, where he is connected with the scenic studio of L. R. Close & Co” (July 19, 1884, page 3). Dunn started working as a scenic artist in Kansas City six years before the purported establishment date of 1890, and three years before “Kansas City Scenic Co.” is mentioned in the local newspapers in 1887

By 1885, Ben Dunn again worked for Levi R. Close, and resided at 502 Inde. Ave. There is no mention of Bronaugh, either working for the same firm or even working as a scenic artist. In fact, a J. C. Bronaugh was listed as a “butcher” working at 2018 Grand ave. and residing at 2006 Grand Ave. Interestingly, a “Frank Dunn” was also listed in the same directory, also working as a butcher, but rooming at 408 E 14^th.  This is where is gets interested.

In 1887 Ben Dunn was still working as a scenic artist, rooming at 1731 Walnut Street. That May 20, “The Lyons Daily Democrat” reported, “Mess. Tschudi, Dunn and Oldham, scenic artists from Kansas City, are preparing a very fine new drop curtain for Tom Butler’s Opera House. Tom, very properly thinks the public would be pleased to have a bran [sic.] new curtain to gaze at between acts. These gentlemen represent a firm of artists who are furnishing many of the finest Opera Houses in Kansas with stage settings, and out citizens must admit, when their work is first shown, they understand their business thoroughly and are first-class artists in every respect. They will furnish scenery for the fine new Opera House at Wichita, and when Lyon’s new Opera House looms up they will probably again have an opportunity to display their artistic powers.

By the next month, these three artists were mentioned in connection with the Kansas City Scenic Co.  Tschudi, Dunn & Oldahm were painting scenes for the new opera hall in Little River, Kansas. The “Little River Monitor” reported, “The carpenters work on the new opera hall is going on at a lively rate, Canfield & Co. are doing the work in good shape, Messrs. Tschudi Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job. The mammoth drop curtain is a beauty. It is ornamented with the business cards of our merchants and others, and will be first class in every particular” (16 June 1887, page 3).  An additional note on the same page stated,” The painters are now at work painting the scenery for our opera hall. It is expected to have the hall fitted up in time to hold a dance on July 4^th.” By the way, the new Wichita Opera House in 1887 was the Crawford Opera House.

What makes this all a little muddy is that there were two Dunns, each deeply connected to the Kansas City Scenic Art Co. and it is difficult to determine the correct one without any mention of a first name or initial.

The 1888 City Directory listed Benjamin F. Dunn as a “painter,” now employed by L. L. Graham, and residing at 414 Troost Ave. Was L. L. Graham running the Kansas City Scenic Co.? That was what I had always thought, but it remains unclear. Was Frank Dunn was the one representing the Kansas City Scenic Co. listed in above article from 1887? Another option is that someone else unofficially started the Kansa City Scenic Co. in 1887 and John C. Bronaugh took over the name by 1890, officially declaring that as the start date. It would be perfect timing for Lem Graham, as his partnership with William P. Davis (Graham & Davis) ended in 1886.

Meanwhile, the life of Frank Dunn gets somewhat blurry. There are many mentions of a Frank Dunn working as a theatrical manager, traveling salesman, painter, or etc. after his departure fro Kansas City; simply too many to identify the correct one. More on Frank tomorrow, but now back to B. F. Dunn.

So what was happening in the 1890s with Ben Dunn? On March 17,1898, Dunn married Martha “Mattie” (1875-1862) in Independence, Missouri. (Independence Daily Reporter, 15 March 1898, page 3). Born in Dakota Territory, Mattie was the daughter of a Scottish immigrant, Isabella Carins Stewart (1852-1921). Isabelle was a single mother and the death, or whereabouts, of her father William Henry Stewart of Massachusetts (1848-?) remains unknown.  Mattie had a brother, six years her junior, named Gordon.

How, or where Ben Dunn and Mattie Stewart met remains unclear, however, their marriage occurred in Independence, the same city where the Kansas City Scenic Co. was working that year; even the same month that the Kansas City Company was working on the new Opera House.

By 1900, the couple was living at 240 Walnut Street in Kansas City. Ben and Mattie celebrated the birth of three children, James Stuart (1902-1964), Zula Zohn (1903-1976) and Benjamin F. Jr. (1913-1980). The 1930 census lists Zula as a stenographer at the Kansas City Scenic Co. and the 1934 Kansas City Directory lists Benjamin Jr. as a salesman with the firm. It was a family business, but more than that – it was John and Ben’s company; two men who had close ties to Olathe and two who continued to bring their friends on board.

More on the Dunns tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

John C. Bronaugh and Benjamin F. Dunn managed the Kansas City Scenic Company, established in approximately 1890. Dunn functioned as the president of the company, with Bronaugh as general manager and treasurer. It was Bronaugh, however, who was credited with establishing the firm. He moved from his hometown of Olathe, Kansas, to Kansas City, the same years that Lem Graham arrived and started a scenic studio, possibly the earliest iteration of Kansa City Scenic Co.

Bronaugh’s 1925 obituary provides a wealth of information, so here is the article in its entirety:

“J. C. Bronaugh, 63, K. C. Pioneer Dies.

“John C. Bronaugh, formerly upper house alderman and widely known leader in Kansas City democratic circles died today at his home at 408 East Twenty-seventh street. He was 63 years old.

“Mr. Bronaugh had been ill more than three years, suffering with complications of the liver. He went to Mayo clinic in Rochester, Minn., three years ago for an operation, following which he moved with his family to Pasadena, California, for the betterment of his health.

“After three years residence in Pasadena, Mr. Bronaugh returned to Kansas City six weeks ago and remained here until his death.

“Mr. Bronaugh had lived in Kansas City forty-one years and was a treasurer and general manager of the Kansas City Scenic company which he established 35 years ago. He was born January 3, 1862 in Cass country, Missouri.

“Active in Democratic politics for many years, Mr. Bronaugh served as upper house alderman under the second administration of former Mayor Henry L. Jost and under the second administration of the late Mayor James Cowgill, and his successors, Sam B, Strother and Frank H. Cromwell.

“While in the council Mr. Bronaugh was chairman of the joint finance committee. With the exception of two years, he was a member of the Democratic county committee from 1902 to 1920 and is a past president of the Jackson County Democratic club.

“Mr. Bronaugh was a member of the Masonic bodies of the city, of the Arrat Shrine and of the Elks. He was a life member on the research Hospital association and had been a director of the hospital several years.

“Mr. Bronaugh is survived by the widow, Mrs. Lula Miller Bronaugh, whom he married in 1896 in Baldwin, Kan.; son, John G. Bronaugh, 408 East Twenty-seventh street and another son, George M. Bronaugh, and a daughter, Miss Cleda May Bronaugh, who lived in the family home in Pasadena. Two sisters, Mrs. Lela Lancaster, of Olathe, Kan., and Mrs. Morena Lee, of Peculiar, Mo., also survive.

The funeral services will be at 2:30 o’clock tomorrow afternoon in the Mellody-Joyce-Taylor undertaking establishment, 3133 Euclid avenue. Gate City lodge, No. 5 A.F. and A.M., will be in charge of the services, Burial will be in a vault in Forest Hill cemetery.-K.C. Post, July 15.

Deceased was a cousin of F. W. and Miss Cora Bronaugh, east of Clinton. He was a great worker for Wall Bronaugh, deceased, who ran for railroad commissioner.”

Tomorrow I explore Bronaugh’s connection to the Dunn family.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

The establishment of the Kansas City Scenic Co. was briefly summed up in an article about its two founders in 1922. They both grew up in Olathe, Kansas, and the “Jackson County Democrat,” reported, “Ben Dunn and John Bronaugh, proprietors of the Kansas City Scenic Company, a concern which for many years has provided scenery for theatres throughout the country, were in Olathe Sunday visiting friends and boyhood stamping [sic.] grounds. Benn Dunn was raised in Olathe and went to school with the owner of this paper, who reported that Ben put in a good deal of time drawing scenery of one kind of another, some horrifying to the vigilant teacher who often confiscated his works of art. John Bronaugh was raised on the old Bronaugh farm west of Olathe. He is not only a business man, but is also influential in Kansas City politics” (9 June 1922, page 3) In Bronaugh’s 1925 obituary, he was credited with founding the Kansas City Scenic Co. in 1890 (The Clinton Eye, Clinton, Missouri, 24 January, 1925, page 4).

However, the earliest mention of the company that I have located to date is 1887. Neither Bronaugh nor Dunn were associated with the firm that year. In 1888 and 1889, Benjamin F. Dunn was listed in the Kansas City Directory as an employee of Lemuel L. Graham.  By 1890, Dunn began representing the Kansas City Scenic Co. working on a new opera hall in Little River, Kansas. The “Little River Monitor” reported, “The carpenters work on the new opera hall is going on at a lively rate, Canfield & Co. are doing the work in good shape, Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job. The mammoth drop curtain is a beauty. It is ornamented with the business cards of our merchants and others, and will be first class in every particular” (16 June 1887, page 3). J. M. Tschudi was a sign painter in Emporia, Kansas, and I will cover his life in the next few posts.

By 1891, the company began to dramatically expand their reach, targeting stages not only in nearby states but also much farther south. On July 9, the “Kansas Patron” reported, “Mr. John Bronaugh, one of the firm of the Kansas City Scenic company started Tuesday of this week on an extended trip through Texas in the interest of the company. In passing Olathe, owing to circumstances over which he has no control, as yet, he was compelled to stop and spend the night, much to the delight of – his friends” (page 5). Two years later, the same newspaper clarified that Bronaugh was “the traveling member of the Kansas City Scenic Co. (Kansas City Patron, 13 July 1891, page 3). He was the firm’s traveling salesman at first and Dunn painted the scenery. By 1897 Bronaugh was still listed as the firm’s treasurer and manager with Dunn as the president (Miami Republican, 1 Oct. 1897, page 3).

On October 11, 1891, the “Topeka Daily Capitol” included an article on the Kansas City Scenic Co., noting, “This well known company, the largest scene painting concern in the western United States placed on exhibition during last weeks fair some of its finest work…At their headquarters 2331 and 2333 Grand avenue, Kansas City, Mo., they have a building built and especially arranged for scene painting. The workman takes up his station on the second floor and his canvas slides up and down before him through forty feet of space. Thus his curtain does not have to be rolled neither does he climb up and down the ladder” (page 8).

The company then opened a regional office in Jefferson, Missouri during 1892 (St. Louis Post-Dispatch, 29 March, 1892, page 2).

In 1894, the “Kansas Patron” reported, “Mr. John Bronaugh of the Kansas City Scenic company was in town Friday meeting his many friends. He also met the Board of Public Works at D. and D. Institute and was awarded the contract for painting the scenery for the new chapel. The board exhibited good judgment in making this award as there are no better artists than Frank Dunn and John Bronaugh” (Olathe, Kansas, 26 April 1894, page 3). In this relationship, Dunn was the primary artist and Bronaugh was the salesman, just like Sosman & Landis in Chicago; one was selling and one was painting, but both deeply understood the painted aesthetic and mechanics of stage settings.

The staff the studio continued to increase over the years. In 1895, J. E. Wagner was listed as traveling for the Kansas City Scenic Co. in Harrisonville, Mo. (The Olathe Mirror, 31 Jan, 1895, page 4). J. C. Kloos was the “expert stage machinist.” That year Kloos overhauled the stage of the opera house in Pittsburgh, Kansas, installing new scenery, two new drop curtains and other effects (Pittsburgh Daily Smelter, 6 Aug. 1895, page 4). The local newspaper reported, “Mr. Kloos has the reputation of being the most rapid stage setter in the United States and is the man who put on the scenery at San Francisco for the celebrated ‘Fall of Pompeii.’ He was late with Matt Morgan, the stage artist who is without equal.” The following day, the “Pittsburgh Daily Smelter” elaborated, “Mr. J. C. Kloos, the clever artist and machinist…is not an artist of a day but a man who has years experience and who knows just where and how to put that experience to the best practical use as his work in the Opera House will attest” (7 Aug, 1895, page 4). In 1896, J. B. Lane from Pittsburgh, Kansas, secured a position with the company too (The Pittsburgh Daily, 25 May 1896, page 4). 

In 1897, W. H. Walborn, scenic artist and salesman, was added to the Kansas City Scenic Co. staff. The “Downs Times” reported, “W. H. Walborn, representing the Kansas City Scenic Co., is about to put up a new drop curtain at the opera house. He has been canvassing for advertisements for the front of the curtain. Mr. Walborn is also doing this line of work in various other towns in this section of the state”  (18 Nov 1897, page 5).

The “Kansas City Weekly” expanded on Walbourn’s contribution to the company in 1897, noting, “W. H. Walbourn, who represents the Kansas City scenic Co., and who is placing considerable work in Kansas, Nebraska, and Colorado, at one time resided in Midddletown, Penn . and distinguished himself by ‘knocking out’ a heavy weight that was vey insulting and stuck on himself. Mr. Walbourn is one of the finest artists with a paintbrush that ever traveled in this part of the country. His process are reasonable and his work first-class, and satisfaction guaranteed” (26 Nov., 1897, page 2). He was still with the studio in 1898, painting a Venetian-themed drop curtain for  the new public hall and opera house in Jamestown, Kansas (The Kansas Optimist, 3 Dec. 1898, page 5). The newspaper reported, “The new drop curtain for the stage, just completed by Mr. W. H. Walborn of Kansas, a scenic painter of wide reputation, is a beautiful work of art. The central picture of this curtain represents one of the water-ways of Venice, painted in colors. The picture is bordered with neat and attractive advertising cards of Jamestown merchants.” That same year he also delivered a new drop curtain to the opera house in Independence, Kansas. The local newspaper reported, “Mr. Walborn, who has been in the city for some days” was securing “twenty ‘ads’ from our businessmen to adorn the border.”

By 1900, Walborn began partnering with another scenic artist on projects, both representing the Kansas City Scenic Company, to deliver new scenery to the new opera house in Stanberry, Missouri. The “Stanberry Headlight” reported, “Mr. Powers has secured the services of Messrs. W. H. Walborn and Harry Minor, two scenic artists, who certainly are artist with the brush. They are painting new scene and side-wings throughout and it is the finest work we have ever witnessed” (Stanberry, Missouri, 2 May 1900, page 1). This is the same Harry Minor who published the dramatic directories.

In 1925, Bronaugh passed away, leaving control of the company to Dunn, more on Bronaugh tomorrow. The company was still running in 1931, when founder Benjamin F. Dunn (b. 1862) passed away. At 69 years old, he was the president of Kansas City Scenic Co. (The Morning Chronicle, Manhattan, Kansas, 28 July 1931, page 1).

To date, I have identified the following thirty-two venues that purchased scenery from Kansas City Scenic Co. between 1897 and 1910. I am sure that there are more, but only a few of this list are still standing, let alone have any scenery:

Kansas Theaters:

Opera Hall in Little River, Kansas (1887)

New Hall in Baldwin, Kansas (1892)

New Chapel Hall in Olathe, Kansas (1894)  

New Parochial School Hall in St. Mary’s, Kansas (1894)

Mallory Opera House in Paolo, Kansas (1897)  

Kansas City carnival parades float (1897)

Opera House in Independence, Kansas (1898)

Dr. A. B. Seelye’s New Theatre in Abilene, Kansas (1900)

Olathe, Kansas. Grange Opera house. (1901)

Sapp’s New Theatre in Galena, KS (1905)

Missouri Theaters:

New Gillis Theatre in Kansas City, MO,  (1897)

Opera House in Stanberry, Missouri (1900)

Jefferson Theatre in De Soto, MO (1903) gone

People’s Theatre in Kansas City, MO (1906)

New Hubbell Theatre in Weston, MO  (1906)

Lyric Theatre in Fredericktown, MO (1908)

Arkansas Theaters:

King Opera House in Van Buren, Arkansas  (1907)  

Imperial Theatre in Marianna, Arkansas (1908)

Alabama Theaters:

Meyer’s Opera House in Sheffield, Alabama (1897)

Kentucky Theaters:

Opera House in Clinton, Kentucky (1910)

Louisiana Theaters:

Auditorium Theatre in Monroe, Louisiana (1903)

Colorado Theaters:

Elks Opera House, Silver City, Colorado (1908)

Elks Opera House, Leadville, Colorado (1902)

West’s Theatre, Trinidad, Colorado (1908)

Idaho Theatres:

Rigby Opera House in Rigby, Idaho (1903)

Nebraska Theaters:

North Opera House in Columbus, Nebraska (1903)

New Mexico Theaters:

Coliseum Theatre in Raton, New Mexico (1906)

Texas Theaters:

New Opera House in Brownwood, Texas (1907)

Opera House in Lockhart, Texas (1907)

Harryman Opera House in Brownwood, Texas (1908)

Seguin Opera House in Sequin, Texas (1908)

Kempenstein Theatre in Sequin, Texas (1910)

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Yesterday I examined the early life of Lemuel Laken Graham, a partnership with Thomas G. Moses in 1882, and his return to the Sosman & Landis Studio in 1883. By 1884, Graham left Chicago to start his own studio in Kansas City, Missouri. The 1885 Kansas City Directory lists Graham as a founder of the Kansas City scenic company studio known as Graham & Davis. At the time, Graham was residing at 637 Garfield Ave. His business partner, William Davis, was with the firm for less than only two years, and by 1886 studio was simply listed under Lemuel L. Graham.

In 1887, Graham was again listed in the Kansas City directory as a scenic artist with his studio at 525 Main, rooming at 517 E. Missouri ave. The 1888 Kansas City Directory lists “Lemuel L. Graham” as employer for other scenic artists in the city, such as Benjamin F. Dunn, future president of the Kansas City scenic Co. Two other bits of information in 1888 provide a little context for Graham’s career in Kansas City; the first is that Moses mentions stopping in Kansas City to visit Graham in his memoirs, writing, “He was doing well.” Indeed, Graham was doing very well, with a substantial staff of artists work in his studio. The second mention of Graham and his studio was included in the 1888 publication, “Industries of Kansas City: Historical, Descriptive, and Statistical.”

The section on Graham included the following listing:

L. L. Graham. Scenic Artist, Contractor for Stage Equipment, Theatre Hardware, Frame Work, Canvas, Traps, Bridges and Every Necessary Equipment of First Class Theatres, 525 & 527 Main Street.

There was an entire entry for Graham too:

“Mr. L. L. Graham is a prominent representative of the scenic art in Kansas City, having established this business here four years ago in conjunction with Mr. Davis, who withdrew from the firm some two years since. Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years. His first experience in the school of art was had at McVickers’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans. His establishment here is eligibly located at 525-527 Main Street, and consists of a studio and shops fitted up with every essential appliance and convenience for the correct and expeditious execution of the work, which comprises high art stage scenery and equipment, rich and elegant stage curtains, stage properties of every description, theatrical hardware, frame work, canvas, traps, bridges, etc. One special feature of Mr. Graham’s industry is his advertising drop curtain, which is richly draped on the top and sides with royal crimson and heavy bullion fringes and pendants gracefully falling on steps painted at bottom of curtain. In the center is a large and artistically painted picture in stucco frame, which is surrounded by a border of deep Prussian blue, divided into spaces for the insertion of business cards. The cards may be lettered in a becoming and artistic style in bright gold, the whole having a brilliant and pleasing effect. There are usually from eighteen to twenty of these spaces of varying sizes to suit the advertiser as to the amount he desires to pay. Full particulars concerning this feature will be furnished by mail, upon application, to theatre managers, hall proprietors and others interested as well as any other information appertaining to stage equipment and carpentry. Mr. Graham has executed stage work for some fifty or sixty houses in Nebraska, notably at Omaha and Lincoln, etc., and for forty five different houses in Kansas, including Winfield, Wichita and Anthony, and in St. Joe, Hannibal, Springfield and many others in Missouri. As many as thirty-six men in his employ upon an average weekly pay roll of $500.00, Mr. Graham giving his personal attention to every detail of this most intricate work. Contracts were made for Priests of Pallas and trades displays and pageants in Kansas.” Thirty-six men in Graham’s scenic studio is comparable to that of Sosman & Landis in Chicago at the same time. However, Graham did not remain in Kansas, heading east.”

This publication included an interesting commentary about scenic studios at the time: “Such industries as the one under special notice [L. L. Graham], are among the necessary concomitants of a rapidly developing metropolitan community, indicating that spirit of enterprise that caters to refined taste and social enjoyment.”

By 1896, Graham was listed as doing business with another scenic artist L. J. Couch (1838 – 1909). Little is known of their exact relationship or business, but it was an unsuccessful venture and makes me ponder Moses’ comment, “a good fellow and a hard worker, but altogether too close to please me.” Graham and Couch were listed in the “Boston Globe” under the heading “Business Troubles.” Of their scenic studio, the newspaper announced, “L. J. Couch and Lemuel L. Graham, doing business at 384 West 1st St, South Boston, under the firm of Levi Couch & Co., scenic painters, have been petitioned into insolvency by Edmund G. Pond, creditor” (The Boston Globe, 9 Jan. 1896, page 7). This is Graham’s third failed business venture in twelve years.

Couch was a scenic artist and inventor, specializing in stage hardware. Born in Milford, Connecticut, he was also a stage mechanic, with an extensive background as a general carpenter. This should have been the winning combination for Graham and Couch – both scenic artists, with one being a knowledgeable stage mechanic. Couch even applied for two patents that involved the operation of stage scenery. One was for a “wire rope clamp” (US Patent 756,158) and other for a “curtain block, drop” (US Patent 756,157). Here are the links to Couch’s two patents:

and

Couch advertised his wire clamp in the “New England Business Directory and Gazetteer” (No. XXI, 1904).

Couch’s background I fascinating, especially before he partnered with Graham. In 1890, Couch was working at the Bijou Theater in Boston, listed as stage carpenter in the city directory. He soon founded L. J. Couch & Co. and initially partnered with fellow scenic artist, David Richards from 1893-1895. As with Graham’s firm in Kansas City, L. J. Couch & Co. offered a wide range of theatrical goods ranging from painter scenery and theatrical hardware to general stage appliances.

After L. J. Couch & Company, Graham partnered with P. Todd Ackerman, another scenic artist. Their studio was initially located at the Broadway Theater in Brooklyn, New York. On Aug. 13, 1902, the “Brooklyn Daily Eagle” reported that Graham and P. D. Ackerman took a mortgage with John C. Sceneck at Bushwick Ave. for $3900 (Conveyances, page 14). In 1903, “The Standard Union” listed: BUSHWICK AVE, s w s 100 n w Eastern Parkway Extension, 50×29.5x-x56.3; Lemuel L. Graham to Philip D. Ackerman; ½ pt; all liens….nom” (22 July 1903, page 10). There Studio Building 1576 to 1580 Bushwick Ave, New York.

Graham later set up his own studio on Crosby Avenue in Brooklyn, calling it L. L. Graham and Son. This must have been Revard Graham. In 1905, the US Census lists Graham and his wife living in Manhattan with their three children: Rachel Elizabeth, Ethel, and Revard Parker, ages 21, 13 and 10. Graham would remain in Brooklyn, New York, until his passing in 1914, yet listed “Graham & Son,” now working with Revard Graham. There remains one drop credited to L. L. Graham & son at the Grange Hall in Denmark, Maine.

Graham passed away after a brief illness on Sunday, Dec. 27, 1914, at the age of only 68. He died at his home, 3 Miller Ave, and was still working as a scenic artist (“The Standard Union,” 29 Dec. 1914, page 3). The Brooklyn Daily Eagle described Graham as “one of the best-known scenic artists of this country.” The article summarized, “[Graham] was known from coast to coast among theatrical men and had traveled through every State in the Union in his time, and his work was known in all of the principal cities.”

Here is Graham’s obituary in its entirety:

“L.L. Graham Artist, Dead.
Painted Many Scene and Curtains for Theatres. Had Studio Here. Curtain at Broadway Theatre His Creation. Lemuel Laken Graham, one of the country, died Sunday from heart failure after a long illness at his home. 3 Miller avenue, on the border line of Queens Borough, near Highland Park. Mr. Graham had a studio building on Crosby avenue, near his home, or ten years, funeral services will be held to-night with internment in Evergreens cemetery.

Mr. Graham was known from coast to coast among theatrical men and had traveled in every State in the Union in his time. His work was known in most of the principal cities. He was born in Ann Harbor, Mich., July 4, sixty-eight years ago, the son of the Rev. Daniel McBride Graham, a Baptiste clergyman and the president of Hillsdale College, Mich., and Ursula Graham. His father apprenticed him to the scene painting business in his youth and he early achieved fame in his chose calling.

He was associated with Sasman [sic.] and Landis of Chicago, for some years and painted the curtain for the Chicago Auditorium. Later he was a partner of L. J. Couch, of Boston, and in his studio there turned out some of the best known to stageland, While at Kansas City for a number of years, Mr. Graham was in charge of the great annual event there, the priest of Pallas parade, and created all of the floats and scenes used in the carnival. Mr. Graham and P. Todd [sic.] Ackerman did the decorations for the Broadway Theatre here, and he painted several curtains and numerous elaborate settings for Manhattan theatres.

Mr. Graham taught scene painting for years and some of the most skillful scenic artists in the country were his pupils. Of late years he confined his work to the creation of smaller scenes and he had a reputation for clever organizations. He leaves his wife, Elizabeth West Graham; a son Revard Parker Graham, a scenic artist, and a daughter, Mrs. Fermin Ferrer, of Laurelton, L. I.” (The Brooklyn Times, 29 Dec, 1914, age 12).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

For quite a few years, I believed that the history of the Kansas City Scenic Co. was integrally linked to L. L. Graham. Lemuel Laken Graham was a friend, fellow scenic artist and one-time business partner of Thomas G. Moses. Moses credited Lem Graham with the founding a scenic studio in Kansas City sometime during 1884. I mistakenly believed this studio was Kansas City Scenic Co. Fortunately, I was able to connect several dots while preparing a series of documents for the Tabor Opera House in Leadville, Colorado; this venue boasts a 1902 Kansas City Scenic Co. collection.

In 1882, Moses and Graham established the scenic studio Moses & Graham. The partnership only lasted until 1884 when Graham moved from Chicago to Kansas City, founding another scenic studio – Graham & Davis. This partnership was also short-lived, lasting only two years, but Graham continued a studio under his own name, Lemuel L. Graham. In 1888, one of the artists in his employ was Benjamin F. Dunn, future president of the Kansas City Scenic Co. and childhood friend of later studio founder, John C. Bronaugh. Bronaugh was listed as a Butcher, working at 2018 Grand ave. and residing at 2006 Grand Ave that same year.

I have to wonder if Graham’s scenic studio was known as the “Kansas City Scenic Co.” but he never officially registered or advertised the business as such.

Back to 1882. In that year Moses recorded that when the theatre season closed, he left his position at Sosman & Landis to partner with Lem Graham, I am focusing on the life of Graham today.

Little is known of Graham’s early years, other than he was born in Michigan, about 1850, although some sources list his birth year as early as 1845. Like Fred Megan, Jesse Cox, and many other scenic artists, Graham began his theatrical career as a performer in a touring company. In 1888, “Industries of Kansas City: historical, descriptive, and statistical” included a section on Graham, reporting, “Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years.” This suggests that Graham’s first theatrical work was in 1863. Regardless of his start date, by 1870, an “L. L. Graham” was touring with J. A. Lord’s Chicago Dramatic Co. Graham played the role of Sir Charles Marlowe in “She Stoop’s To Conquer” that year. Starring Louis Lord, his company toured throughout Kansas. (“The Daily Commonwealth,” 7 Jan. 1870, page 2).  By the fall, Graham was performing in “Frou-Frou” alongside Mary Graham (The Leavenworth Times, 22 Nov. 1870, page 4). It is unclear whether Mary was a relation or his wife.

By 1871, the “Junction City Weekly Union” mentions Mr. L. L. Graham is a performer in “The Ticket-of-Leave-Man.” Advertised as a “modern play,” Graham was credited with personifying “Jem Dalton,” the tiger. The newspaper announced he “did it well,” adding, “He is a young man of talent, and we believe a true artiste” (4 Feb, 1871, page 3). Few things make me smile, as thinking of a future scenic artist and studio founder dressed up as a tiger.

In 1872, Graham again appeared with Louie Lord’s Dramatic Company in their production of “Our American Cousin” (Daily Commonwealth, 12 Jan. 1871, page 4), as well as a touring production entitled “Buffalo Bill.” This production is a little confusing, as it was advertised as a “Kansas romantic aboriginal spectacular specialty,” not really a spectacle featuring William Cody, the actual “Buffalo Bill” (Daily Commonwealth, 8 Dec. 1872, page 4). Something happens by the mid 1870s and 1880s, causing Graham to transition from a performer to a scenic artist. The 1888 publication, “Industries of Kansas City: historical, descriptive, and statistical” included a section on Graham, report, “His first experience in the school of art was had at McVickers’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans.”

On September 17, 1875, the “Times-Picayune” reported, “opening of the Amusement Season. – The Academy of Music, always first to open and last to close, has been entirely renovated, a new proscenium and ceiling put up, which is being decorated by Mr. L. L. Graham, the Academy’s scenic artist, who, by-the-by, showed us some fine specimens of his art during the last season, repainted all over, new carpets, and other modern improvements” (New Orleans, page 1).

Later that fall, the “New Orleans Republican” reported that L. L. Graham painted the drop curtain for Bidwell’s Academy of Music,“representing Tasso at the Court of Ferrara. Graham’s new drop was to be “unrolled for the first time” on Sunday October 10 of that year (October 16, 1875, page 1). By winter, Graham was mentioned again in connection with the Academy of Music’s scenic attributes: “The truly sublime piece of scenery in the transformation scene is the handiwork of Mr. L. L. Graham, the skillful artist, who gets up some very grand effects, and it riveted the gaze of the spellbound audience” (26 Dec. 1875, age 1).

By the beginning of 1876 the “Times-Picayune” reported, “ACADEMY OF MUSIC. –  To-night there will be a change of programme at this theatre in “Dead to the World” in which Mr. France will appear a Philip Warwick, Flip, a negro, and Aunt Hannah. The drama is described as “replete with thrilling effects, exciting situations, startling tableaux,” but no Indians. The play appears to have achieved a remarkable run of twelve weeks at the London Grecian Theatre, which would lead us to the conclusion that there is much merit in it. At all events the public will have the opportunity of judging to-night. The play will be ornaments with new scenery from the brush of Mr. L. L. Graham, whose handiwork has ere now received its need of popular applause.” (New Orleans, Jan 20, 1876, page 8). Graham remains associated with the Academy of Music during the 1870s before moving to Chicago and working with another well-known scenic artist, Henry C. Tryon. Both would later work at Sosman & Landis in the 1880s.

In 1876 Graham partnered with Tryon to deliver a new drop curtain and stock scenery to an opera house in South Bend, Indiana. An article in the “Southbend Tribune reported, “L. L. Graham of the academy of music in New Orleans, La., and Henry C. Tryon, of McVicker’s theater of Chicago, scenic artists, are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others” (“South Bend Tribune,” 9 Aug, 1876).  This seems to be a turning point, as Graham becomes increasingly connected with the Chicago theatre scene.

By 1881, he was working at the Academy of Music in Chicago. Enter Thomas G. Moses who is a young artists working at Sosman & Landis. In fact, Moses is the first employee that Joseph Sosman hires and the two go on the road, completing one project after another secured by Perry Landis. Between trips in Chicago, Moses looked for a second job as his finances are stretched thin after the birth of another child. Moses secured a part-time position with Graham at the Academy of Music. The two were painting for the Academy’s stock company, the same stock company that included Moses’ sister Illie who is an actress [Illinois Moses]. By the way, in 1882, Graham is listed as an artist residing at 230 West Washington in the Chicago Directory.  Graham was also listed as the scenic artist at the Standard Theatre in Chicago; this is before partnering with Moses to form the new scenic studio Moses & Graham. Of the partnership, Moses wrote, “We got together and I quit the firm after refusing a big salary – that is, for me.  Our first contract was at Kalamazoo, Michigan.  The Academy of Music.  We worked night and day.   I did all the foliage and I was astonished. On seeing my stuff set, to see how I improved.

The Academy of Music in Kalamazoo, Michigan, was a 1250-seat opera house located on South Rose Street. The venue was directly across from Bronson. John McCullough’s “Virginius” was the opening production at the venue. The theater owners wanted to make it a big affair, so they paid Graham and Moses “a good price” for special scenery to accompany the production.  Moses noted that they were all Roman scenes, recalling, “We spread ourselves and it was very pleasant work.” 

After Kalamazoo, Moses and Graham completed a project in Grand Rapids, Michigan for Redmond’s Opera House, also built in 1882. The venue was later known as the Grand Opera House. While in town, Moses recalled that Graham fell in love with the head waitress at his boarding house; the two later married on Nov. 20, 1884.  Her name was Elizabeth “Lizzie” West (b. 1860), and of her Moses wrote, “she proved to be a good wife and good mother.”  The Grahams celebrated the birth of two children, Rachel Elizabeth (b. 1892) and Revard Parker (b. 1895),

Now, this was at least the second marriage for Graham, if you read everything listed in the newspapers and between the lines, he was married a few times.  His first marriage ended in divorce during 1870, Chicago. We know this because the original divorce decree was destroyed during the Chicago fire. On April 17, 1884, the “Inter Ocean” reported, “Martha Elizabeth Graham of Cumberland, Maine, filed a petition in the Circuit Court yesterday for the restoration of a decree of divorce. The decree was rendered against her on Nov. 30, 1870, in the Circuit Court of Cook Country in favor of Lemuel L. Graham and was destroyed by the great Chicago fire.”  (page 8). That same year, a Lemuel L. Graham also severed marital ties to Nellie H. Graham, as reported in the “San Francisco Examiner.” On Oct. 28, 1884, “Judge Maguire has granted Nellie H. Graham a divorce from Lemuel L. Graham, willful neglect and desertion.” Interestingly, both of these events occurred the same year he eventually married Lizzie. By 1889, Lizzie was working as a seamstress.

Back to Moses & Graham in 1882… After completing scenery for the two opera houses in Kalamazoo and Grand Rapids, the pair traveled to Elgin. At this time, John H. Young also joined their team. Young would become one of the top Broadway designers in the first decade of the 20^th century. Of  Young in 1882, Moses wrote, “He was then working as a candy concern, but was delighted to join us.”  Moses had previously worked with Young in Michigan during the 1870s. I have written extensively about Young, see past posts 140, 171-173, and 186.

Moses, Graham and Young next worked on a project in Racine, Wisconsin, where they painted scenery for the Black Opera House. By this point, Moses wrote, “Graham and I were doing much better now and we had two good jobs at the same time.  He was a regular Shylock, a good fellow and a hard worker, but altogether too close to please me.” I am not even going to hazard a guess to his comment, but the two soon split; Graham and Young departed for Hannibal, Missouri, leaving Moses alone to finish the Racine project.  

By 1883, Moses & Graham went after a project in Oshkosh, Wisconsin. Sosman & Landis were also competing for the same work. Of the encounter, Moses wrote, “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.  I had Oshkosh to finish, which I did and May 1^st found Graham, Young and myself back on Clark Street at the Sosman and Landis Studio.” Graham remained at Sosman & Landis until 1884.

In 1884 Graham partnered with a “Mr. Davis” to establish a scenic studio in Kansas City, Missouri, named Graham & Davis (Sioux City Journal. 9 May 1885, page 3). According to the newspaper accounts, Davis married Cora in 1884. He only remained with the company for two years before withdrawing and moving to Chicago. He was listed in the 1887 Chicago Directory, living at 850 W. Madison and working as a scenic artist. I believe that this was the same William P. Davis (b. 1855), who later worked at the Chicago Auditorium and established the Twin City Scenic Co. in Minneapolis, Minnesota. Davis moved to Minnesota in 1894 and was listed in the St. Paul Directory as the scenic artist for the Grand Opera House. Interestingly, Davis first worked for Moses in Richmond, Indiana, during 1881; Will Davis was Moses’ assistant at the time, just before Moses partnered with Graham.  All three were working in Chicago for Sosman & Landis.

A little more about Graham after 1884 tomorrow.

To be continued…