Copyright © 2020 by Wendy Waszut-Barrett
The 1870 US Federal Census lists Anna Maria (Hammer) Hoornbeck as living in Chicago her sons Dell and Spencer in Chicago. At the time of the census, Henry B. Hornbeck, alias Henry C. Tryon, was likely traveling as an itinerant scenic artist. In 1870, Tryon was associated with Aitkin’s Museum in Chicago, but was also working in Michigan, and delivered new scenery for a theatre in Manistee, Michigan. There, he was listed as “late scenic artist of Aitkin’s Museum, Chicago, Ill.” (New York Clipper, 11 June 1870). The “New York Clipper” article reported, “Messrs. Ferris and Hensberger have fitted up a nice little theatre, which was formally opened on the 26th., the bill of the play being “The Charcoal Burner” and “Thumping Legacy,” with C. W. Collins and Fanny Dempster in the principle characters, the latter being credited by a correspondent with being a gay and vivacious artist. “Octoroon” was played all last week. Besides the above, the company includes Mrs. J. R. Creed, J. W. Whitley, Harry Cotton, A. A. Armstrong and others, not forgetting Henry C. Tryon late scenic artist of Aitkin’s Museum, Chicago, Ill.”
By the fall of 1870 Tryon was listed as a scenic artist at D. R. Allen’s Globe Theater in Chicago. He was working with James. H. Rogers and John M. Kaufman. Of the Globe’s opening, the “New York Clipper” announced “Allen’s Globe Theatre, a new edifice, situated on what is termed the “west side” in Chicago, Ill., on Desplaines street, between Washington and Madison, is announced to be opened for the regular season this evening, Nov. 21st… James Howard Rogers, John M. Kaufman and Henry C. Tryon, scenic artists” (26 November 1870).
As most other artists at this time, he established a permanent residence, or theatre, for correspondence and then traveled to outfit new venues with scenery. There was a significant amount of construction as railways expanded ever westward. Tryon found a substantial amount of work in Kansas, including Frazer’s Hall in Lawrence.
The Great Chicago Fire occurred from October 8 to 10, 1871, killing approximately 300 people, and destroying approximately 3.3 square miles of the city. 100,000 residents were left homeless. Miraculously, Allen’s Globe Theatre survived the destruction, so Tryon remained associated with the venue.
As the Windy City recovered, a group of scenic artists painted a large panorama of the horrific event – Alderson’s Great Panorama of the Chicago Fire. The piece immediately toured the country, accompanied with musical performances and descriptive recitations. While in San Francisco, California, an advertisement for Platt’s Music Hall described “3,700 feet of canvas from actual views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry O. Tryon, scenic artist of Wood’s Museum; Henry Dressel, scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House” (Figaro, 31 July 1872, page 1). Scenes described in the advertisement included: Chicago before the Fire; The Conflagration; Thousands of Houses in Flames; The scenes of the Old Cemetery; The Ruins; Views of Principal Streets; Public Buildings, Printing Offices, etc.; Ruins of Churches; Something About Mrs. O’Leary’s Cow; Music, Songs, Stories, Recitations; and Descriptive Lecture and Dramatic Ballad.
Tryon also worked as an assistant to Mr. R. H. Halley’s assistant, painting scenery for the Wyndam’s Comedy Co. in 1872 (Chicago Tribune, 5 May 1872, page 7). Tryon could not have picked a better individual to study with at this time; Halley had an excellent reputation and connections. On April 5, 1872, the “Chicago Tribune” reported, “R. H. Halley, the eminent English scenic artist, whose brush added so much to the attractive features of Crosby’s Opera House and the Dearborn Theatre, has just reached New York from Europe, and will soon visit Chicago. He will paint scenery for Myer’s Opera House, building on Monroe street, directly in the rear of McVicker’s Theatre” (page 5). By the fall, Halley was also credited for painting the new Aiken’s Theatre drop curtain and scenery, completing the project with C. Louis Malmsha. A “Chicago Tribune” article noted that both artists were “schooled under the artistic Telbin, of London, and others, and reflect lustre on their names as men of merit and talent” (Chicago Tribune, 18 September 1872, page 4). Tryon later worked with Malmsha at Wood’s Theatres (Chicago and Cincinnati) and McVicker’s Theatre (Chicago), eventually writing a passionate tribute to Malmsha upon his passing (October 19, 1882).
Advertisements placed by Tryon in the “New York Clipper” during 1872 announced, “Henry C. Tryon, late scenic artist Woods’ Museum, Chicago is prepared to paint Scenes and drop curtains for theatres, public halls, &c. Address 363 West Indiana street, Chicago” (18, May 1872). Tryon would primarily advertise in the “New York Clipper” throughout the duration of his career.
Work over the next two years included new scenery for the renovated Academy of Music in Indianapolis, Indiana (Indianapolis News, 28 Jan. 1874, page 4). For the 1874 renovation, the newspaper noted, “In lieu of the advertising drop curtain, that has been sent to the rear of the stage,” Tryon painted “an original conception, representing the voyage of Lallah Rookh to the castle called Shalimar” (The Indianapolis, New, 30 Aug 1875, page 3).
In 1875 Tryon delivered new stock scenery for Grand Opera House, in Cincinnati, Ohio. An article in the “Cincinnati Daily Star” reported that the scenic department for the Grand Opera House was “in the hands of Charles Blackburn and Henry C. Tryon (4 Aug. 1875, page 4).
The second half of the decade would find Tryon establishing a partnership with Lemuel L. Graham. There will be more on that tomorrow.
To be continued…
