Tales from a Scenic Artist and Scholar. Part 1098 – Robert Hopkin, Representing J. B. Sullivan & Bro. in Colorado, 1881

Copyright © 2020 by Wendy Waszut-Barrett

Robert B. Hopkin (1832-1909) was a scenic artist and easel artist, well known known for his marine paintings in Detroit, Michigan. Reminiscing about Hopkin, Malcolm W. Bingay wrote, “Robert Hopkin painted because he found soul satisfaction in thus expressing himself. He cared nothing for the opinion of the world. He earned his living as a scenic painter so that his art could be his own. He did not want to sell his works. When he did, it was only to meet his family needs. Often urged to exhibit he gently refused. “Somebody might buy the ones I wish to keep,” he would answer” (“Detroit Free Press,” 7 Aug 1943, page 6).

Hopkin’s last name is frequently misspelled in historical documents; people and publications consistently adding an “s” to Hopkin. Even Thomas G. Moses wrote about his one-time mentor Robert Hopkins. When Thomas G. Moses first entered the scenic art profession, he assisted both C. C. Louis Malmsha in Chicago and Robert Hopkin in Detroit.

Both Malmsha and Hopkin were mentioned by Moses in a 1909 newspaper article the “Press and Sun Bulletin” article included a section on Moses’ early training, reporting that Moses “hired out as a painted boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work. Robert Hopkins, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist” (5 Dec. 1909, page 14).  In 1875, Moses wrote, “I worked for a while on the “Naiad Queen” scenery under the celebrated Robert Hopkins, a friend of Malmsha’s.”

There is a Robert Hopkin senior and junior by 1870 both painting in Detroit. The 1870 census listed Robert Hopkin Sr., age 37 yrs. old, and the members of his household. At the time, he was living with his wife and children. His wife, Evaline, was 38 yrs. old,  and their children ranged from ages 8 to 17 yrs. old: Sophia (age 17), Robert Jr. (age 15), William G. (14), Marshall (8) and George Ruby (17). In 1870 Robert Jr. was listed as a “painter” and his father an “artist.” William also entered the painting profession, traveling west with his father in 1881. The two painted scenery for three Colorado theaters, representing the firm of J. B. Sullivan & Bro. of Chicago. On March 5, 1881, the “Detroit Free Press” reported “Robert Hopkin, the artist, and his son William G., left for Colorado on Thursday to paint the scenery and curtains for three opera houses. Before leaving “Bob” remarked to a scribe of THE FREE PRESS, “the boy is up to the old man with the pencil, and ain’t much behind him with the brush” (page 1). To date, I have confirmed that two of the three theaters were the Tabor Grand Opera House in Denver and the Colorado Springs Opera House.

On September 24, 1881, “Great West” announced, “Robert Hopkins and son, the principal artists for Sullivan & Co., and the painters for the drop curtain in the Opera-house, left for the East on Sunday evening. Mr. Hopkins has left and enviable reputation behind him for his work in our theater and the one in Colorado Springs” (Denver, CO., Vol II, No. 13, page 5). 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).

The Colorado Springs Opera House also made news in Leadville, Colorado, also a stop on the circuit.  “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.” The article continued to describe the theater, “The general decoration of the auditorium is rich and appropriate. Private boxes flank the proscenium arch upon either side, which are handsomely furnished and draped in maroon and old gold, with lace trimmings. The parquette circle and balcony are all furnished with A. H. Andrews & Co.’s model seats, upholstered in marron plush…Resolved, That the cordial thanks of the citizens of Colorado Springs are due to Messrs. Howbert, Crowell and Humphrey, for erecting here this beautiful temple, dedicated to music and the drama, and their liberality and public spirit eminently entitled them to the grateful respect of their fellow citizens. Mr. J. L. Langrishe responded with a few pointed and fitting remarks in which he said that he had seen and played in a great many theatres in America and that the Colorado Springs opera house was the handsomest of its size in the United States” (April 19, 1881, page 1).

On April 9, 1881, the opera house was further described in a section entitled, “Stage Arrangements” :

“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 comparable to the scenery collection at the Tabor Grand Opera House in Denver, signaling a standard of excellence at western theaters. I found it intriguing that Hopkin was specifically connected with a Chicago decorating – J. B. Sullivan & Bro.

James Bernard and Michael Joseph Sullivan’s firm was located at 266 N. Clark in 1877 (Lakeside Directory of Chicago, 1877-1878). This was just down the street from Sosman & Landis Scene Painting Studios. J. B. Sullian & Bro. was established in the 1850s, with founding dates varying from 1853 to 1857. The Sullivan brothers were included in “History of Chicago: From the Fire of 1871 until 1885” by Alfred Theodor Andreas.  Here are the entries for the two brothers:

“James Bernard Sullivan, of the firm J. B. Sullivan & Bro., painting, decorating in fresco, etc., is the son of Michael and Hannah Sullivan, and was born in Troy, New York, on November 29, 1830. He remained at home until he was twenty years of age, during which time he received a thorough education, and then went to New York, where he engaged with John S. Perry, painter, decorator, etc., with which he continued one year. After mastering his trade, he continued his vocation in Troy, until 1855, when he came to Chicago. In the following year he began business on his own account, and in 1857 established himself at Nos. 266-268 North Clark Street, his present location. He associated with his brother M. J. Sullivan, in 1869, under the firm J. B. Sullivan & Bro. This establishment has kept pace with the rapid development of the decorative art, and is recognized by the trade and the public as one of the leading houses in the Northwest. First-class materials and expert workmen are only employed, and to these aids the Messrs. Sullivan attribute their success. Mr. Sullivan was married, in 1859, to Mrs. Margaret Cunningham of Schenectady, N. Y., who dies in 1868, leaving four children, – Mary E., Margaret F., James B. and Agnes M. His second marriage, to Miss Elizabeth Glassbrook, of Chicago, occurred in 1870; they have two children, – Joseph and Irene.”

            Michael Joseph Sullivan of the firm J B. Sullivan & Bro., painting and decorating, etc., is the son of Michael and Hannah Sullivan, and was born in Troy, N. Y., on October 3, 1846. He attended public schools of his native city until fourteen years of age when he came to this city, and engaged in his trade in the establishment of his brother, J. B. Sullivan & Bro., and in 1872 became full partner. He is thoroughly conversant with the details of the decorative art, and is known to the public as one of the best-posted men in the trade. Mr. Sullivan was married on October 3, 1872, to Miss Ellen Braley, and accomplished lady of Chicago. They have two children,- Francis J. and Marie E.”

Advertisements from the 1880s note that the firm was divided into three departments: Wall Paper and Paper Decorations; Painting and Glazing Department; and Fresco and Decorative Department (1877 Inland Architect and News Record). Additionally, ads promised, “Work in various departments is under the personal supervision of the firm. Competent men sent to any section of the country. Designs furnished. Correspondence solicited.” Although residing in Detroit, Robert Hopkin Sr. was principal artist for the Chicago firm in 1881, traveling west to complete theatre projects that included stage scenery.

To be continued…