Copyright © 2020 by Wendy Waszut-Barrett
For the past few weeks I have been exploring the scenic art careers of Henry C. Tabor and Henry E, Burcky, both listed as scenic artists for the Tabor Grand Opera House in Denver, Colorado.
Keep in mind that Henry C. Tryon was an alias, the painting name for Henry B. Hoornbeck. For the full story of Hoornbeck’s name change, visit: https://drypigment.net2020/10/16/tales-from-a-scenic-artist-and-scholar-part-1092-henry-b-hoornbeck-and-henry-c-tryon-1847-1892/ Hoornbeck’s name change became official in 1872.
In 1878, the Chicago Directory listed Henry C. Tryon as an artist, boarding as 198 W. Lake. William P. Tryon was also boarding at same address. Henry’s brother was William Patterson Hornbeck, but he also adopted the last name of Tryon at this time. The two were living with the Estella C. Tryon , the widow of sculptor and artist Horatio L. Tryon.
During the spring of 1878, Tryon was credited with scenery for the new opera house in Monticello, Iowa. The announcement reported, “The opening of our new opera house last night was a great event in the history of this city. There was an immense crowd. The opera house is said the finest in Iowa, outside the large cities. The scenery by H. C. Tryon, scenic artist of Chicago, is superb. The play was “Led Astray” and it was well rendered in every particular. We are all pleased and gratified, and return our thanks to Chicago for sending us a first-class artist in the person of Mr. Tryon” (14 March 1878, page 5).
By 1879, Tryon was occasionally working in New York and painting scenery for Niblo’s Garden. Tryon and Edward Simmons delivered scenery for another production of “The Black Crook.” Simmons later became associated with Tony Pastor’s Theatre and was noted as their artist in the 1884 “Harry Miner’s Dramatic Directory.”
In 1880, Henry C. Tryon painted scenery for “Sea of Ice.” On May 17, 1880, the “Muscatine Journal” reported, “All the scenery to be used was prepared especially for the play by the talented artist, Henry C. Tryon, formerly of McVicker’s Theatre, who is now here, and will personally superintend the production of the drama” (page 4). His settings for the production included: the main deck of the Urania; a plain of ice; the coast of Mexico; and a garden in Paris. The “Muscatine Journal” article elaborated, “Among the beautiful and surprising scenic effects to be produced may be mentioned the display of the Aurora Borealis, the breaking up of the ice, the fall of the ice bergs, the tropical sunset, the ripple of the ocean, and the fountain in the garden scene.”
As an itinerant scenic artist, Tryon dashed from one project to another across the country. Artists on the go provided contact information in a variety of publications. Tryon placed ads in the “New York Clipper.” A listing from December 4, 1880, listed, “Henry C. Tryon, scenic artist. Address, care 20 South Canal Street, Chicago, Letters will be forwarded.” He continued to provide the same contact information on February 5, 1881. It was during this time that Tryon partnered with Henry E. Burcky, both traveling east to paint in Cincinnati for the Opera Festival. An article in the “Cincinnati Enquirer” reported, “Messrs. H. E. Burcky and Henry Tyron, the young and talented artists who came here from Chicago to assist painting the scenery, have been doing excellent work. They are bright, intelligent and rapid worker and but for their assistance it would have been difficult to have the scenery ready by Monday next. Mr. Burcky is scenic artist at Hooley’s Theater in Chicago, and Mr. Tryon at McVicker’s. They express themselves as amazed at the extent and magnitude of the affair” (15 Feb 1881, page 4).
After working in Cincinnati, Tryon headed west to Minnesota where he painted scenery later that spring. On May 21, 1881, the Minneapolis “Star Tribune” reported, “Henry C. Tryon, the excellent scenic artist left to-day for Chicago where he goes at once to fulfil another engagement” (21 May 1881, page 5).
To summarize, during the first half of 1881, Tryon worked in Cincinnati, Minneapolis, and Chicago. By this time, he was also associated with the Tabor Grand Opera House in Denver, Colorado. I find it fascinating to track the travel of nineteenth-century scenic artists. They were constantly on the go, zipping across the country as an amazing speed.
To be continued…
