Travels of a Scenic Artist and Scholar. The Colorado Springs Opera House and the Scenic Artists Robert Hopkins, 1881.

Travels of a Scenic Artist and Scholar. The Colorado Springs Opera House and the Scenic Artists Robert Hopkins, 1881.

Copyright © 2020 by Wendy Waszut-Barrett

Yesterday I explored the drop curtain created by Robert Hopkins for the Tabor Grand Opera House in Denver, Colorado. On Thomas G. Moses, Edward Morange, Hardesty Maratta, and John Young visited the Tabor Opera House in Denver to see the drop curtain by their friend Robert Hopkins in 1884. Moses wrote, “We all attended the theatre, the famous Tabor Grand, and we found it all we had expected it would be, nicely decorated and fine woodwork.  The Drop Curtain was very good: an old ruin with some poetical feeling that pleased everyone.  It was painted by an old friend of mine, Mr. Robert Hopkins, of Detroit, Michigan.  This is a favorite subject of his, he having done a similar one in Detroit” (The palette & Chisel, Vol. 1, No. 3, March 1928). 

So who was Robert Hopkins? He was a scenic artist from the Midwest who began his career in Detroit, and later was associated with other large metropolitan areas through his work. Hopkins came from a family with four consecutive generations of Detroit artists named Robert Hopkins. The patriarch of the family specialized in marine scenes and never appears to have left the Detroit area. I believe that it was his son, Robert Hopkins, Jr. who ventured to Chicago and continued to travel west for theatrical opportunities.

Robert Hopkins, Jr. was born in 1856, the same year as Thomas G. Moses. As Moses sporadically worked in Detroit throughout the duration of his career, it is likely that their friendship began with the Hopkins family in Michigan. Unlike Moses who started his artistic career at the age of 17, Hopkins was already actively working and listed as a painter by 15 years old. The 1870 census listed Scottish artist Robert Hopkins Sr., age 37, as an artist and his son Robert Jr. as a painter. Hopkins Sr. was married to Evaline, age 38 at the time, with four children: Sophia (age 17, b. 1854), Robert Jr. (age 15), William G (14), Marshall (8) and George Ruby (17). During this time, the family was listed as living at 664 Detroit Ward 5, E Wayne, Michigan.

In 1875, Moses recorded that he worked on scenery for the “Naiad Queen” under the “celebrated Robert Hopkins.” Hopkins was a close friend of C. Lou Malmsha (1847-1882), another well-known artist whose career soared, but he passed away at the young age of 35. Malmsha seems to half left an indelible mark on all who knew him. Moses worked as both Malmsha’s assistant and under the direction of Hopkins at the in the beginning and this experience certainly shaped his approach to scenic art. Less than a decade later Hopkins was credited as producing the scenery for Detroit Opera House, according to Harry Miner’s American Dramatic Directory for the 1882-1883.

It remains unclear as to whether Moses worked with the elder or younger Hopkins in Detroit. Although it seems reasonable that it would be the elder Hopkins, fame struck many scenic artists at an incredibly early age in the 19^th century; sometimes it just took one show. I believe Moses was referring to Robert Hopkins Jr. Keep in mind, less than a decade later Moses left Sosman & Landis for the first time to form a new scenic studio with Lemuel L. Graham, future founder of Kansas City Scenic Co. Moses’ ascent to the top of his professional was relatively quick too, he was just a few years behind Hopkins despite their same age.

Like many itinerant artists at the time, the Hopkins traveled from town to town and tried to secure as many painting contracts in an area before departing. What I have noticed is that when a scenic artist came to town to paint scenery for one theater, other venues took advantage of their arrival. This means that a talented artist was immediately approached after arriving in any town or territory.  If their name was associated with a popular touring show, the arrival was even more anticipated and people lined up with projects. During 1881, Hopkins seems to have settled in Colorado for a spell, before returning east.  Hopkins produced scenery for both Tabor’s Grand Opera House in Denver and the new opera house in Colorado Springs.

Of his 1881 Colorado Springs project, “The Leadville Daily Herald” reported, “Mr. Robert Hopkins, of Chicago, an artist of large experience, has had charge of the scene painting, and it, together with the arrangements for shifting, are equal to that of any stage in the country. There are thirteen sets of scenes, supplied with all the accessories to make each complete” (April 19, 1881, page 1).

Colorado Spring’s “Daily Gazette” reported, “The appointments of the stage will fully equal and in the best metropolitan establishments. The scenery is of the most elaborate and tasteful description and is painted by the well known artist, Mr. Robert Hopkins” (Colorado Springs, 19 April 1881, pages 1-2). Hopkins was mentioned again in the section entitled, “Stage Arrangements,” providing a little my information about the scenic artists and the stage house for the April 9, 1881, opening of the opera house in Colorado Springs:

“The stage is very large considering the size of the theatre, and the finest scenic effects can be produced upon it. The proscenium arch is 24×24 feet, thus giving ample room. The drop curtain is an exceedingly handsome bit of work, representing a Venetian scene. The decoration of the theatre and the painting of the scenes are under the direction of J. B. Sullivan & Bro. of Chicago, The artist in charge of the scene painting is Mr. Robert Hopkins, who is the general designer of the decorations. These designs are entirely original, having no duplicates in any theatre. The scenery and the arrangements for shifting it are equal to that of any stage. The scenes are shifted upon the Breach system, by means of counter-weights. There are thirteen separate sets of scenes, which are supplied with all the accessories to make each compete. Following is a partial synopsis of the scenes: garden scene, set cutwood flats, garden flat, vases, borders, statuettes, set arbor, walls, balustrades, ancient street scene, modern street scene, street arch, cave scene with accompanying wings, kitchen scene, plain chamber, palace scene, interior gothic scene, garret scene, prison castle, open wood, dense wood, rocks, grounds waters, set trees, horizon, numerous landscapes. There are over 200 pieces in all and the scenery will be so arranged that each scene will be complete from wing to wing that there rarely be need of pillar for instance, to enclose a wood scene, the scene being all woodland scenery within the stage borders, it will be a picture in a frame.”

This was a comparable scenery collection to that delivered to Tabor’s Grand Opera House in Denver during 1881.  It signifies a standard of excellence for western theaters, as well as significant profits for a scenic artist.

To be continued…