Copyright © 2020 by Wendy Waszut-Barrett
Yesterday, I started exploring the life and career of scenic artist H. E. Burckey. Remnants of Burckey’s painting still exist at the Tabor Opera House in Leadville Colorado. In 1890, Burckey painted eight jungle wings constructed by William J. Moon for the venue. Burckey was a scenic artist who grew up and entered the theatre industry in Chicago.
By the age of eighteen, Henry E. Burckey was listed as “scenic artist” in the 1875 Chicago Directory, living at 83 S. Halsted. Little is published of Burckey’s early career, but in 1879 he was credited as the sole artist for “Queen’s Evidence,” playing at Hamlin’s Theatre. The show starred Geo. C. Boniface and advertisements reported, “Every scenic in this play will be entirely new and painted by Henry Burcky” (Chicago Tribune, 14 Dec. 1879, page 16). Five months later, Burckey was credited as the scenic artist for a charity event that included a production of “The Frog Opera.” The “Chicago Tribune” reported, “This novel extravaganza, which has recently been given in New York, Philadelphia, Baltimore and other cities, will be brought out at the Central Music-Hall on Tuesday and Thursday evening s and Wednesday afternoon this week, for the benefit of the Nursery and Half-Orphan Asylum. Among the cast and chorus of frogs are some of the best actors in the Farragut Boat Club. Special scenery, representing the swamp in the earlier part of the piece, and the old mill in the last act, is being painted by Burkey, the scenic artist. As its title indicates, the Frog Opera is purely an extravaganza, and, with considerable continuity of plot, it describes the wooing on Prince Frog and his experiences with Simple Simon, Baron Rat, Sir Thomas Cat, Baroness Rat, etc. The costumes are made after designs by Mark Waterman, the Boston artist, and are said to be unusually effective” (“Chicago Tribune, 16 May 1880, page 11). His career was on an upward swing, bringing him into contact with other scenic artists, such as Henry C. Tryon who worked at McVicker’s Theatre.
By 1881, Burckey partnered with Tryon, and the two ventured south to paint scenery for the Cincinnati Opera Festival. Their work was very well received, and their departure even made headlines. The “Cincinnati Enquirer” reported, “Messrs. Burcky and Tryon, the distinguished artists who painted part of the scenery for the Opera Festival, are delighted with Cincinnati; say they were never treated so kindly, and never had so much appreciation shown them. They will probably leave for Chicago this week” (4 March 1881, page 5). Burckey, like most scenic artists of his generation, would travel to secure work. This was often in addition to holding down a seasonal theatre gig.
Western theaters offered wonderful opportunities for artists young and old alike. Soon, Burckey and Tryon two headed west, making a name for themselves in Colorado. In 1882, Tryon settled in Denver and was associated with H. A. W. Tabor’s second theater, the Tabor Opera Grand House. Built only a few years after the Tabor Opera House in Leadville, the Tabor Grand was a massive undertaking. By 1884, Burcky was listed as the scenic artist for the venue. Although Burckey was still listed in Chicago directories throughout the 1880s, he was building a good reputation as quite an accomplished artist. Although Burcky was now listed as the Tabor Grand’s scenic artist, he continued to paint for touring productions and other Chicago shows. The train ride from Chicago to Denver was only a day away, 17 hours and five minutes; a short jaunt with only one overnight. Similarly, Denver to Salt Lake City was only a fifteen-hour trip, explaining the ease of Henry C. Tryon working at both the Tabor Grand Opera House and Salta Lake Theatre during the early 1880s. Rail travel made it possible for scenic artists to hold dual positions in two different states.
While in Denver during 1884, Burckey painted the State’s exhibit for the World’s Industrial and Cotton Centennial Exposition. The States of Colorado constructed a 6,600 square-foot exhibit in the Government & States building. One of thirty-eight states represented at the exposition, the Colorado exhibit was located near the north entrance of the building, and included a realistic representation of the Rocky Mountains, painted by Burckey. As with other exhibits, Colorado’s agricultural products, ores and minerals were set out on display.
The “Memphis Daily” credited Burckey with painting “The Pioneer Car” for the World’s Fair in New Orleans, (Memphis Daily Appeal, 19 Nov. 1884, page 2). The exhibit was described as a “work of art” in the “Memphis Daily Appeal.” The article described Burckey’s work in detail. Here is the article in its entirety:
“Upon its sides are some splendid paintings from the brush of H. E. Burcky, the scenic artist of the Tabor Grand Opera house. These pictures are well worth careful scrutiny.
Upon one side of the car the picture is emblematic of Colorado’s beautiful scenery, her resources and the glory of the South, with New Orleans as the crown of that section. In the center is a large horseshoe, upon the arch of which is the inscription, “Miner’s Cabin.” Withing the arche, formed by the emblem of good luck, is the full-length figure of a miner with pick upon his shoulder, apparently just starting out on a prospecting tramp.
In the right center is a group of two figures, one a farmer binding a sheaf of wheat, while beside him sits his wife with a dinner-pail and basket, evidently resting after her noonday walk with her husband’s lunch. From this scene, the perspective goes back over fertile plains across which a railroad train is gliding, until the plains heighten to a grand view of the Rocky Mountains.
Upon the extreme right of the picture is a splendid view of the Grand Canyon from the mouth of which is approaching a train, the locomotive tender showing the letters D. & R. G.” At the left of the horseshoe, and covering about one-third of the side car, is the Southern scene, with idle darkies lounging around bales of cotton and cut watermelon lying in the foreground, while away to the left of the scene and in the depth of perspective is a river with the city of New Orleans in the distance.
Upon the other side of the car, about one-third of the picture represents a miner’s cabin, with utensils of a prospector’s housekeeping hanging upon its wall, while sitting a little distance in front is the miner with extended hands. In his hands he holds a pan, into which his eyes gaze earnestly for the coveted gold. The remainder of the picture is a sweeping view of snow-capped mountains.
This car and decorations will be a credit to the artist and to Colorado which sends it forth, and is safe to predict that no exhibit which will arrive in the Crescent City will attract more attention before it is opened to view.
The Miner’s Cabin idea and its careful preparation is highly creditable to its agent, Mr. T. E. Boynton, and Mr. Noel May, who so ably assisted in carrying the conception to a reality. Mr. Boynton will accompany the car to-night and Mr. May will follow in a few days.
The car is loaded with contribution of ores and minerals from over 100 different mines throughout the State, to be used in the construction of the “Miners’ and Prospectors’ Cabin,” connected with the Colorado exhibit at New Orleans. This collection includes many rare and valuable specimens of bullion-producing mineral. The “Cabin” is intended to be emphatically a Colorado structure, the mortar used being compressed of a material presented by the Denver Cement Manufacturing Company, and sand taken from the bed of Cherry Creek. Other shipments of ore will follow this car, to be used in keeping the cabin in repair, as well as to constantly ass its attractions.
The train containing the exhibits from the Denver Exposition and some other exhibits will follow, leaving Denver about the 20th instant. The Denver Exposition display is now nearly all packed ready for shipment. A very valuable addition was made yesterday by the Hon. H. A. W. Tabor, who will send a splendid cabinet containing the specimens from Robert E. Lee and the Matchless mine, and valued at $1000.”
Much has been written about the World’s Fair in New Orleans, but here is a link to the 1885 publication – “Practical Common Sense Guide Book trough the World’s Industrial and Cotton Centennial Exposition at New Orleans”- http://archive.org/stream/practicalcommons00perkrich#page/26/mode/2up
To be continued…
