Copyright © 2020 by Wendy Waszut-Barrett
Henry C. Tryon and Lemuel L. Graham formed a scenic art partnership that lasted from the summer of 1876 to the spring of 1877. Although short-lived, their partnership fills in one more missing piece to the nineteenth-century scenic art puzzle.
On August 9, 1876, the “South Bend Tribune” credited Henry C. Tryon and Lemuel L. Graham with new scenery for the South Bend opera house. Fifty years later, the small note was republished: “South Bend.-L.L. Graham, of the academy of music of 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 1926, page 6).
Henry C. Tryon and Lemuel L. Graham were called “birds of passage” in scenic art advertisement during 1876. What a charming term for itinerant scenic artists. Tryon and Graham posted several ads in the “New York Clipper” for a two-year period while working together.
On December 23, 1876, the “New York Clipper” published their advertisement:
“HENRY C. TRYON from McVicker’s Theatre, Chicago, and L. L. GRAHAM from the Academy of Music, New Orleans, La. are prepared to paint, in first-class metropolitan style, scenery for theatres and public halls. Address, for the present, HENRY C. TRYON, care of Tootle’s Opera-house, St. Joseph, Missouri, and L. L. Graham, New Opera-house. Findlay, Ohio. Permanent address, care of McVicker’s Theatre, Chicago. As we are “birds of passage” due notice of change of address will be given. Respectfully, TRYON & GRAHAM.”
The advertisement provides some insight into Tryon and Graham’s projects that year; at the end of 1876, Tryon was painting at Tootle’s Opera House in St. Joseph, Missouri and Graham was still working at the Davis Opera House in Findlay, Ohio. Tryon and Graham had just completed a significant amount of stock scenery for the opera house in Findlay during 1876.
On January 6, 1877, the “New York Clipper” included an advertisement for the new opera house:
“DAVIS OPERA-HOUSE. FINDLAY, OHIO.
It has just been completed, and seats eight hundred; it has 350 iron opera-chairs in dress circle; good front and stage entrances; lighted by gas; stage 33 feet by 45 feet; proscenium opening, 23 feet; foot and border lights; elegant drop and act curtains, and nine complete sets of scenery by Chicago scenic artists TRYON & GRAHAM. Findlay is an excellent show town about six thousand inhabitants and will support a good show a week. For terms and dates apply to Davis, Detwiler & Co., Findlay, O.”
The two were working in multiple states that included Ohio, Indiana, Illinois, and Missouri. On January 6, 1877, the “New York Clipper” reported, “Hascall’s Hall, Goshen, Ind. has recently been fitted up with a new drop-curtain and six complete sets of scenery, painted by Chicago Scenic Artists MESSRS. TRYON & GRAHAM. Goshen is a fine town of about 5,000 inhabitants, on the Lake Shore and Michigan Southern R.R., about halfway between Chicago and Detroit. A good show can play three nights to good business. For terms apply to Chas. B. Alderman, Goshen, Ind.” The Hascall Hall was part of the Hascall Block, a massive building erected by Chauncey Smith Hascall in Goshen. Located at Main Street and Lincoln Avenue, the structure was raised in 1922 to make way for City National Bank.
On March 31, 1877, the “New York Clipper” credited the pair with painting scenery at another opera house in Troy, Ohio. The notice stated, “NEW YOU CITY OPERA-HOUSE, Troy, O., recently completed, is described as having a seating capacity of 600, a stage 56 x 40 feet, ten changes of scenery, painted by Tryon & Graham, and all the accommodations of a first-class house.”
Lemuel Laken Graham formed several partnerships throughout the duration of his career; each was fairly short lived, suggesting that Graham may have been a difficult partner. Five years after ending his partnership with Tryon, Graham partnered with Thomas G. Moses. Their partnership only lasted from 1882 to 1883, and then both Moses and Graham returned to the Sosman & Landis Studio in Chicago. By 1884, Graham left the Chicago offices to establish another partnership in Kansas City with William Davis. The new studio was known as Graham & Davis; another partnership that lasted for less than two years. Soon Graham was solely working under his own studio name in Kansas City– Lemuel L. Graham. As an interestingly aside, it was Tryon who was Graham’s replacement when he left Sosman & Landis in 1884. Keep in mind that in the 1880s, regional branches for major scenic studios did not necessarily use the main studio’s name, but a new, and often local, identity.
Graham was included in the 1888 publication “Industries of Kansas City: Historical, Descriptive and Statistical:”
“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.” Here is the 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 also 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.”
For more information about Graham’s career, visit my post “Travels of a Scenic Artist and Scholar: The Scenic Art Career of Lemuel L. Graham, 1884-1914.” Here is the link: https://drypigment.net2020/02/21/travels-of-a-scenic-artist-and-scholar-the-scenic-art-career-of-lemuel-l-graham-1884-to-1914/
To be continued…
