Month: October 2020

Copyright © 2020 by Wendy Waszut-Barrett

On this day in 1882, scenic artist C. Louis “Lou” Malmsha passed away. He was only 35 years old at the time of his death, yet many believed him to be one of the greatest scenic artists of his day.  On October 22, 1882, Henry C. Tryon published an article in the Salt Lake Tribune, writing, “As an humble follower, ardent admirer, friend, and confrere of this dead artist, I felt it my duty to render tribute and homage to his transcendent genius.  He was the best in the profession.  Every artist who has seen his work has without qualification given him this position as a matter of simple fact.  I have seen samples from the hands of the best scenic artists in England, France, and Italy, and from what I have seen and learned, I am convinced that Mr. Malmsha was the greatest scenic painter in the world.  His identity appeared to be unbounded.  The most familiar with his work could not guess how he would paint next.  Week after week and year after year, his productions were a constant succession of surprises.  He was entirely an artist and used none but purely art means to accomplish even a mechanical object.  His compositions, the motive of which was ever noble and elevated, were entirely original and were produced with astonishing rapidity.  He united power and strength with the sweetest tender and delicacy, with grace, sublimity, and loveliness.  I have yet to see in American art any examples which manifest the wealth of genius that this man proved that he possessed.  I am quite certain that had he turned his attention to the painting of pictures that he would have ranked as the greatest artist that our country has ever produced for his genius was certainly preeminent.  His position in his profession was an isolated one.  He had no peers.  His place vacant, now there is none can fill.”

There is nothing left of Malmsha’s work and little known of his personal life beyond a family grave plot at Riverside Cemetery in Stoughton, Wisconsin. I visited this cemetery last week, and contemplated the love that went into Malmsha’s memorial. The base reads, “Erected by his Wife and Artist friends.” In front of the broken column are five smaller headstones for the entire Malmsha family: Papa, Mama, Freddie and two with “Baby.” I have yet to uncover anything about Malmsha’s personal life, nor his marriage to Emma. They were married quite young, and only a short time after Malmsha arrived from Sweden.

On a cloudy fall day, it was difficult to look at the gravestones without experiencing profound sorrow. By the age of 32, Emma Malmsha had lost three children and her husband. She never remarried and lived for three more decades, passing away in 1912. I have yet to locate a single historical record about her life, or even a marriage license to Lou.

When Emma was seventeen years old and Lou was twenty years old they mourned the loss of

their first child on Aug. 30, 1867. The name at the base of the gravestone is badly chipped, possibly reading “Daws,” but “Our Baby” remains clearly legible.

They would not celebrate the birth of another child for six more years. That second child was born to the couple the same year that Thomas G. Moses met Lou Malmsha – 1873.

When Thomas G. Moses began his artistic career, he assisted Malmsha who was lead artist at Jevne & Almini, fresco painters. Moses recalled Malmsha years later, writing “He was a very clever man.  In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work, very simple in drawing and color, but very effective.”

In the fall of 1873 and at the beginning of 1875, Lou and Emma celebrated the birth of two more children. Despite a string of continued successes in the theatre, the family’s personal life began to crumble, as did Lou’s health. On June 23, 1877, the couple lost their second child, only two years and six months old. A small gravestone simply carries the name of  “Baby” at the top.

Less than a year later, they lost their third child. On March 3, 1878 Freddie passed away at the age of four years and six months old.

The loss of Freddy occurred just before Lou left for Minnesota to paint stock scenery for the St. Paul Opera House. On site, Malmsha must have thrown himself into work, painting six scenes that included a kitchen, a landscape, a three-door chamber, a forest, the street, and a garden.”

Just prior loss of their two children, Lou also began showing the signs of illness; he suffered from consumption.  Despite his ill health, Malmsha continued to work as a scenic artist for McVicker’s Theatre in Chicago. Upon his passing in 1882, Henry C. Tryon wrote, “For the past ten or twelve years he had been afflicted with consumption so that it was difficult for him to exert himself violently or to do more than two or three hours a day, but as he was for the past few months required to do none but purely artwork, other artists doing all of the preliminary work possible to make his labor easier, he was enabled, no doubt up to a recent period, to astonish and delight the audiences at McVickers with the exhibition of phenomenal genius.”  This meant that Malmsha began suffering from consumption in his early 20s.

Malmsha was born in Gothenburg, Sweden, in 1847. Demonstrating a strong talent for painting at an early age, Malmsha emigrated to America in 1863, soon settling in Chicago and securing employment with the fresco artists, Jevne & Almini. While working for the firm, Malmsha became interested in scenic art and soon was assisting Mr. Arragon at Crosby’s Opera House.

In 1866 he moved to New York where he executed the first scene for “The Black Crook.” This was just prior to the loss of his first child. In New York Malmsha also was engaged multiple times at the Union Square Theatre, as well as Dan Bryant’s Old Hall on 23^rd Street and Kelly and Leon’s Minstrels. While in New York City, Malmsha designed and painted scenery for the Tammany Amusement Co. On March 14, 1869, Malmsha was also credited with several scenes for “Harlequinade,” including the settings that depicted Horse Cars on Sixth and Eighth avenues, the Wildcat Bank, and a Seminary for Young Ladies” (New York Daily Herald, 14 March 1869, age 9).

By the end of the decade, Malmsha briefly worked alongside William Voegthlin. The two painted scenery for “Robinson Crusoe and His Man Friday,” a pantomime burlesque at the Tammany theatre. Malmsha’s settings for the production included the Island of Sorosis, the Rocky Shore of the Island, London in the Olden Times, the Forest Dell, the Firework Shop and Groceries, Seaman’s Home and Pawn Shop, and the Caverns of Gloom (New York Daily Herald, 25 April 1869, page 16).

Working as an itinerant artist, Malmsha next partnered with Barney Macauley of Cincinnati. At this time, he was listed in the Cincinnati Directory, boarding at 69 W. 6^th.

He returned to Chicago just before the great fire in 1871, and began working at McVicker’s Theatre with James Howard Rogers. Rogers had already been at the venue for twelve years.  A few weeks into this job, the great fire prompted Malmsha to return to Cincinnati.  It is doubtful that Malmsha’s family traveled with him to each city. Emma was likely living in Stoughton, waiting for her husband to return between projects. This was certainly the case with Tom Moses and his wife Ella.

In March 1871, Malmsha was credited with painting new scenery for “Streets of New York” at Wood’s Theater in Cincinnati. (“Cincinnati Enquirer,” 9 March 1871, page 5). Other productions painted by Malmsha there included “Blue Beard,” starring Miss Lydia Thompson” (Cincinnati Enquirer, 11 Dec. 1871, page 5). Malmsha was listed as a scenic artist in the Cincinnati Directory from 1871 to 1873, residing at 73 W. 3^rd. On February 18, 1873, the “Cincinnati Enquirer” credited Malmsha as the “leading scenic artist of the day” for Dion Boucicault’s new one-act play, “Kerry, or Night and Morning”  (page 8). The article reported:

“Wood’s Theater. – The engagement of Dion Boucicault at Macauley’s theater is so far the dramatic event of the season. Boucicault is the Shakespeare of scenic effects, and we might almost say the creator of the modern stage, materially speaking. He is also the most successful playwright of the generation, and last night he proved himself likewise the most powerful emotional actor and the truest delineator of Irish character that has ever appeared here. If more is wanting to justify our opening assertion, it is easily supplied. The actor and author brings with him as support his accomplished wife, professionally “Agnes Robertson,” and several other powerful supports, while the manager of the theater, appreciating the occasion, has not only strengthened his company, but has, with the aid of the leading scenic artist of the day, L. Malmsha, “put on” the plays in a style unexampled here.” The production was Boucicault’s new one-act play “Kerry, or Night and Morning.” On Nov. 24, 1873, the “Cincinnati Enquirer” included an advertisement crediting “L. Malmsha” for “entirely new scenery” for “Divorce,” the great society play, at Wood’s Theater.

Malmsha returned to Chicago by 1874 and began working at McVicker’s Theatre again It is possible that the birth of his second child prompted his return to accept a permanent position closer to his wife in Stoughton, Wisconsin. In 1877, Malmsha was listed in the Chicago Directory’s “Artists” section, living at 768 Wabash Ave. By 1878, Malmsha was credited with the new Opera House scenery in St. Paul.  “Manager Hains has secured the services of Mr. Louis Malmsha, the scenic artist of McVicker’s theater, Chicago, to repaint and add to the scenery of the opera house. Mr. Malmsha is one of the best scenic artists in the country. He will arrive in St. Paul this morning and begin work at once” (“Daily Globe,” 12 August 1881, Vol 4, No. 224). The “Saint Paul Globe” reported the work was completed by “Mr. L. Malmsha, renowned throughout the entire theatre-going public as the scene painter of McVicker’s establishment, Chicago” (11 July 1878, page 4). As part of a four-week renovation, the “Saint Paul Globe” reported, “This consists in the refitting of the entire stage scenery behind the curtain with new “flats” and “wings,” depicted on new canvas. The scenes so far completed are six in number, but, with the “set piece” and others to follow will, when finished, amount to twenty-four in all. The six completed scenes were last night privately exhibited to a very few invited guests and to the members of the press. They consist of a kitchen, a landscape, a three-door chamber, a forest, the street, and a garden.”

Regardless of other projects. Malmsha continued to work with Rogers at McVicker’s Theatre in Chicago, painting “Little Innocents” (1877), “After Dark” (1878), and “The Parson” (1880). The two were also credited with scenery for Gotthold & Rial’s touring production of “Uncle Tom” (Racine Daily Herald, 6 Feb 1879, page 4). Despite his failing health, Malmsha continued to paint.  Upon his passing, newspapers noted that although physicians advised Malmsha to “seek a more salubrious climate,” he remained in Chicago to continue his art.

Rest in Peace.

Here are two double-painted flats created for the Tabor Opera House. One side depicts a rocky mine setting (with diamond dust for silver veins) and the other side depicts a garden setting.

The rocky mine setting included three pieces; one was double-painted with clouds and the other two double-painted with a garden scene.

All three pieces were created between 1879-1890.When the Leadville Elks (BPOE) purchased the building and renovated the stage and auditorium (1901-1902), the original scenery was replaced with new; the older collection tucked away in the attic.

In September 2020, I led a group of volunteers to document the attic scenery and lower many pieces to the stage floor. I have yet to identify the scenic artist for this particular piece, or exact date. For more information about historic scenery collections at Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, use the keyword search function at www.drypigment.net

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…

Copyright © 2020 by Wendy Waszut-Barrett

Henry C. Tryon worked as the scenic artist at the Tabor Grand Opera House in Denver, Colorado, from approximately 1881-1883. Henry E. Burky also worked there by 1884. Tryon and Burcky were both Chicago artists who intially partnered together in 1881. They painted scenery for the Cincinnati Opera Festival.

In addition to this storyline about Burcky, I am also writing about life and career of Tryon in “Tales from a Scenic Artist and Scholar.” For Tryon, I am currently exploring his work in the 1870s. His timeline complements that of Burcky and provides context for the lesser-known scenic artist. And the main reason that Burcky entered the picture is because of his scenery for the Tabor Opera House and Tabor Grand Opera House.

Last month I documented a scenery collection at the Tabor Opera House in Leadville, Colorado. There was one jungle wing stored in the attic that caught my eye as it was signed, “W. J. Moon carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890.” This information provided a creator and manufacture date for the entire set of eight jungle wings. The “Herald Democrat” confirmed his stay in Leadville at the time, reporting his departure from Leadville for Denver. On October 16, 1890 the newspaper announcement reported,  “Mr. H. E. Burcky left last evening for Denver.”  Burcky was also listed in the 1890 Denver Directory, but only for that year.

As an itinerant artist Burcky appeared in many city directories, including the Chicago Directory (1875, 1877, 1885, 1887, 1889), as well as the Cincinnati Directory (1893, 1894, 1895, 1897, 1888, 1889, 1900) and the Camden, NJ, Directory (1905). Although Burcky began his career in Chicago, he worked as an itinerant artist at theaters across the country. In 1884, “Harry Miner’s Dramatic Directory” listed “Burkey” as the scenic artist for the Tabor Opera House in Leadville.  However, in the listing, he was noted as, “Burckey, scenic artists, Tabor Opera, Denver,” suggesting that he worked for both venues that year. The 1884 Denver directory also listed “Berky” as the scenic artist for the Academy of Music. Additionally, a scenic artist named “Burck” was credited in the same directory for the Masonic Temple in Louisville, Kentucky; likely Burcky, as theatrical directories are full of misspellings. In short, Burcky traveled to any place where he could secure work, crisscrossing the country by rail.

In 1888, Burcky was credited with scenery for “The New Karl. “ A comedy starring Charles A. Gardner, the Karl character was a peddlar. Gardner was advertised as a “great German comedian” who sang and danced. The “Wheeling Sunday Register” mentioned Burcky’s involvement with the production, reporting, “Scenic artist Burcky deserves credit for several new scenes which he painted for the play” (Wheeling Sunday Register, 19 Feb 1888, page 6). The following year Burcky painted scenery for another Karl production that played at Havlin’s Theatre (The Independent, 27 Aug 1889, page 4).

In 1888 Burcky settled in Cincinnati; well, as much as possible for an itinerant scenic artist at that time. On June 26, 1888, Burcky married Elizabeth “Lizzie” Smith. The following day, the “Cincinnati Enquirer” reported, “Henry Burcky and Lizzie Smith were married yesterday by Squire Hauser.” Louis Hauser was a justice of the Peace and this was not a first marriage for Lizzie. Here is where it gets a bit confusing. Lizzie’s maiden name was Clemmons. She married John J. Smith (b. 1850) in 1870; Smith worked as a janitor and there is no indication of a death, separation or divorce for the couple. In regard to Lizzie, some historical records list her birthplace as Pennsylvania and others Louisiana, but the year seems to remain consistent as 1853. While together, John and Lizzie Smith celebrated the birth of six children. Five of the six children included Charles (b. 1871), George Arthur (1875-1950), Thomas J. (1880-), Florence (m. Meehan, 1881-1964) and William Milton (1882-1914, m. Florence Holmes); one child possibly died in infancy. Lizzie and Henry Burcky celebrated the birth of a daughter in 1895. On Sept. 20, Marie “Alva” Burcky (1895-1969) was born in Hamilton, Ohio.

After Lizzie and Henry’s marriage in 1888, everyone was still living together. The youngest Smith child at the time took his step-father’s name and became William “Milton” Burcky. In 1889, the Chicago Directory listed “Henry E. Burcky, artist 254 Ogden Av.” Interestingly, he was also listed in the 1889 Lake City Directory: “Henry E. Burcky, scenic artist, r. 6611 Halsted, Englewood.” That same year his father Frederick Burcky and William E. Burcky were also listed in the Lakeside Director, each living at the same address as Burcky at 6611 Halsted. It is possible Henry forgot to notify the directory of his moved from Halsted to Ogden, or vice versa.

By 1890, Burcky was listed in the Denver Directory, suggesting that there was enough work to prompt a permanent address for a year. He is also absent from the Chicago and Cincinnati directories in 1890, 1891 and 1892. In 1892, Burcky is credited as painting scenery for Keene’s “Richard III” (“Saint Paul Globe,” 13 Nov. 1892, page 11).  “The Springfield Leader and Press” credited “the well-known scenic artist, Berkey,” as one of the artists for Keene’s touring Shakespearean productions that included “Richard III,” “Hamlet,” and “Othello” (4 Dec. 1892. Page 4).  

In 1893 and 1894, Burcky was living in Newport, Kentucky, with the Cincinnati Directory listing: “Henry E. Burcky, scenic artist, Walnut Street Theatre, res. Newport.” He remained employed Cincinnati’s Walnut Street Theatre throughout 1893 and 1894. In 1894, the Covington, (Kentucky) city directory listed “H. E. Burcky, scenic artist, h. 936 Putnam.” By the way, Covington is across the river from Cincinnati. It was in the mid 1890s that Burcky’s career hits some sort of snag.  He shifts from scenic art and works as a lithographer and paper hanger. In 1895, he is listed in the Cincinnati Directory as “Burcky, Henry E. lithographer, wks. 11 8^th nw Main.  In 1897, he is listed as “Burcky, Henry E., scenic artist, h. 330 E. 5^th”.  At this same time, he is listed as living at the same address as his step-sons Thos. J. Burcky and Geo. A. Burcky, both paperhangers too. By 1898, Burcky is again listed as a scenic artist, but still living with Thomas and George, each still employed as paper hangers. The listing was, “Burcky, Henry C., scenic artist, h. flat 7, 337 E. 5^th. The “C” becomes another issue in tracking down Burcky, as the cursive “E” was often misread as a “C.”

The 1900 US Federal Census listed Henry and Lizzie living with five of their children, as well as Mattie, their daughter-in-law. Mattie was the wife of Thomas. The theatrical business was a family affair, with both Henry and his stepson Milton (18 yrs. old) working as scenic artists. George (24 yrs.) and Thomas (19 yrs.) were paper hangers, and Charles (age 27) was a carpenter. Interestingly, in 1899 Charles Burcky was previously listed as a paperhanger in the Chicago Directory.

Of the children, it was George A. Smith (m. Julia Anna) who remained involved with the theatre in various roles, including theatre electrician. His obituary noted, “George A. Smith, for many years employed at the Cox and Schubert theaters as stagehand manager, died yesterday at Bethesda Hospital. He was 75 years old. Mr. Smith is survived by two sisters, Mrs. Florence Meehan and Mrs. Alva Tigue, both of Paterson, N.J.; a brother-in-law, William Mack, Cincinnati, and an aunt, Miss Dena Eckhart, 2344 Wheeler Ave., with whom he made his home. His wife, Julianna preceded him to a grave. Mr. Smith was a member of the Oolah Kan Grotto, the Stage Workers Club and Robert Burns Lodge, F. & A.M. Services will be held at 10:30 a.m. Wednesday at the Vitt and Sterner funeral home, Fairmont Burial will be in Spring Grove” (Cincinnati Enquirer, 9 Oct. 1950, page 12).

Shortly after the turn of the twentieth century, the Burcky family eventually moved east. By 1905, Henry Burcky was living in New Jersey, listed in the Camden Directory. Alva Burcky was baptized in New York on April 20, 1907 at St. Jerome’s Church, Bronx, New York City.  It remains unclear exactly when the family moved, or which members remained in the area after Henry’s passing in 1908. On February 21, 1908, Henry E. Burcky passed away in Manhattan, New York. Listed in the Episcopal Diocese of New York Church Records, he was buried at 377 3^rd Ave, Mt. Olivet on February 26, 1908. Interestingly, church records list his age as 60, conflicting with previous documents that suggest a birth year of 1852. I have yet to locate any obituary for Burcky, or memorial.  He seems to have passed in relative obscurity.

His daughter Alva ended up living in Manhattan by 1910. The US Federal Census listed that Thomas Smith was living in Manhattan with his wife Mattie, daughter Mildred, and “sister-in-law” Alva Burke. At the time Thomas was employed in a blacksmith shop as a “horseshoer.” It is difficult to track down much information about Alva, as she was listed by both first and middle name in historic records. Regardless, Alva married Patrick Tigue in 1918, listing her parents as Elizabeth Clemmons and Henry Burcky.

When Alva passed away in 1969, the obituary listed her mother as Elizabeth Williams Burcky, and not Elizabeth Clemmons Burcky. “Williams,” may simply have been a typo.

To be continued…

Copyright © 2020 by Wendy Rae Waszut-Barrett

Here is a double-painted flat from the nineteenth century; one side depicts a rocky mine setting (with diamond dust for silver veins) and the other side depicts a cloud setting (with gold paint outlining the clouds).

The rocky mine setting included three pieces, but only one was double painted with clouds. The other two flats were back painted with a garden scene and will be posted tomorrow. All of these pieces were created for the Tabor Opera House in Leadville, Colorado, ca. 1879-1890.When the Leadville Elks (BPOE) purchased the building and renovated the stage and auditorium (1901-1902), the original scenery was replaced with new; the older collection tucked away in the attic. In September 2020, I led a group of volunteers to document the attic scenery and lower many pieces to the stage floor. I have yet to identify the scenic artist for this particular piece.

For more information about historic scenery collections at Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, use the keyword search function and type in “Tabor.”

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 26^th., 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. 21^st… 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…

Copyright © 2020 by Wendy Waszut-Barrett

While doing some last-minute research on scenic artist Henry C. Tryon in the “New York Clipper,” the heading “Stage Machinery” caught my eye. Eureka! What makes this discovery so exciting that the 1877 stage was referred to as “an engine of motion.” The article suggests that the stage resembles “those great engine-houses which have iron galleries and flying bridges all round.”

Below is one of the most detailed descriptions of nineteenth century stage machinery that I have read to date, identifying the shift from wings, shutters and roll drops to fly scenery.

The article was published in the “New York Clipper” on January 6, 1877.  It provides a wonderful perspective during a time when fly drops began replacing shutters and roll drops. Here is the article in its entirety:

“STAGE MACHINERY .

A stage proves to be a very different thing from what the popular eye, gazing from pit or boxes , presumes it to be. A great arch , a sloping floor, pierced here and there with traps ; cellars below, regions above, grooves at each side, in which scenes glide forward or back; rollers stretching across, on which the “cloths” behind are rolled up—such is the popular ideal. But the stage of one of the “grand” houses offers a different spectacle . There is neither floor nor ceiling proper; but above there is a number of light galleries running round in tiers, while, instead of a floor or stage, properly so called , there is a vast expanse of open grating or cage-work, one below the other, the bars of which are parallel with the seats of a pit. The whole, therefore, is not “clear” from top to bottom, resembling one of those great engine-houses which have iron galleries and flying bridges all round. A large stage looks imposing enough from the boxes; but few, perhaps, are aware that below it, in a grand opera-bouse, there is a space of about the same height as the stage, and above more than twice that extent. Thus, the space devoted to performance is really no more than a seventh or eighth of a part of the unseen regions above, below and around it . The stage and the floors below (in a large theatre there are often four) thus appear like a series of gridirons , one beneath the other. This has been found a necessary arrangement, owing to the great scenes, stretching the whole width of the stage, that must ascend or descend, and have a clear passage. As these openings may be required at any part of the stage, the only mode is to make the entire stage an open frame covered with panels , which can be drawn away. A “trap” can thus be opened at any spot, as one of these panels containing the trap and its machinery can be inserted. Few persons are aware of what is the traditional and established engine of motion in all the great theatres , or how it is that in some ambitious transformation scene a huge iron frame, laden with fifty or sixty figures, can be raised aloft . The agency of windlasses and such mechanical powers would entail a vast expenditure of human strength, which, indeed, it would be found impossible to concentrate at a fixed point. The motive power behind the scenes is wonderfully simple, and even scientific, and has been in use without change for more than a century and a half. It consists in a permanent arrangement of great balance-weights always ready mounted, and with which the object to be raised can be readily connected. A child could raise a ton weight to a particular height if the cord passing over a pulley be balanced by another ton weight. Roof and basement, aloft and below, are filled with enormous rollers, each furnished with wheels something like that of a ship’s rudder. To these are attached a series of concentric drums, much like the cone-shaped wheel upon which a watch-chain is wound, for the purpose of allowing cords to be wound upon them. The balance-weights are hung ln grooves next the walls; while the cords attached to run them up to the root pass through pulleys and are then brought down to the drums, to which they are attached. When some slowly evolving transformation is in progress, to be crowned by the ascent of some glorified frame stretching the whole width of the stage, on which a number of ladies are bestowed, its ascent is thus contrived. The weight of the machine and its burden is roughly found; it is then attached to the counterpoises, the ropes in their course being made to pass over the drums of the windlass. The men who lower or raise it have therefore only a few pounds weight to deal with, and hence that smooth, even motion always to be seen in stage changes. In fact , the counterpoises, being slightly heavier, raise the machine itself, and have only to be controlled or checked by the men at the drum. So, too, is the heavy drop-scene made to ascend or descend, and with such motion that it can be made slow or rapid; so figures ascend through trap-doors . Even the great chandelier that lights the hall is thus balanced . —New Quarterly Magazine .

To be continued…

Here are some examples of nineteenth-century scenery created for the Tabor Opera House in Leadville, Colorado. When the Elks (BPOE) purchased the building and renovated the stage (1901-1902), the original scenery was replaced with new; the older collection tucked away in the attic. In September 2020, I led a group of volunteers to document the attic scenery and lower many pieces to the stage floor. There were three scenic pieces
depicting rocks for a mining setting, painted sometime between 1879 and 1890. I have yet to identify the scenic artist. Diamond dust was liberally sprinkled in the rock to simulate silver veins. Keep in mind that H. A. W. Tabor was known as the “Silver King.” For more information about scenery created for the Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, keyword search “Tabor.”

Copyright © 2020 by Wendy Waszut-Barrett

Thomas G. Moses pasted an article about scenic artist, Henry C. Tryon, in his scrapbook. I first encountered the clipping as an undergraduate while creating an index of Moses’ diary and scrapbook; it was part of an independent study project with Lance Brockman. For quite some time I have looked for additional information about Tryon, never discovering much more information than was cited in the tattered old newspaper clipping. This week I discovered the reason; Tryon changed his name when he was twenty-five years old.

On September 19, 1872 Chicago’s “Inter Ocean” newspaper reported, “Petition of Henry B. Hornbeck. Petition to change above name to that of Henry C. Tryon. Petitioner is an artist, and has been known by the name Tryon among his friends and in business, and it is important that he should retain the name. A notice of his application for the above purpose, which has appeared for three weeks in the Legal News, is appended to the petition. Willett & Herrings, solicitors” (page 6). He had been working for some time with the stage name of Tryon, yet was still listed in city directories as Hoornbeck, and Hornbeck.

The 1870 Chicago Directory listed Henry Hoornbeck at 384 W. Lake. He was living with his mother and brothers, Dell and Spencer. As a scenic artist, he became associated with Allen’s Globe Theatre in Wood’s Theatre. Like other itinerant artists, by 1871 Tryon was painting scenery across the country. One of his projects included the stock scenery collection for Frazer’s Hall in Lawrence, Kansas. On February 25, 1871, the “New York Clipper” reported, “Frazer’s Hall, Lawrence, Kansas, has just been fitted up with an elegant and complete set of scenery, painted by Henry C. Tryon, of Chicago. Best hall in the city for any and all purposes.”

The 1872 Chicago Directory listed “Henry C. Tryon, scenic artist” residing at 128 W. Randolph. At the time, he was living with the sculptor Horatio Tryon (b. 1826) and Horation’s wife, Estella Tryon. It is unclear as to when Henry met the Tryons or the exact nature of their relationship was in 1872. However, the 1872 business section of the Chicago Directory listed both Horatio L. Tryon and Henry C. Tryon in the “Artists” section, each residing at 128 W. Randolph. In print, it looks like a father and son partnership.  Six years later, Henry was still boarding with the Tryons, now residing at 198 W. Lake Street. Interestingly, a William P. Tryon was part of the household, also boarding at the same place. Keep in mind that William Patterson Hornbeck was a brother of Henry B. Hornbeck. Henry’s younger brother, Spencer Hornbeck, also adopted the name Spencer Tryon while working with his brother out west a decade later.

In 1883, “The Salt Lake City Herald” credited a scene painted by Mr. W. C. Morris and Mr. Spencer Tryon, elaborating,  “Mr. Spencer Tryon is a brother and pupil of Henry C. Tryon, the artist of the Salt Lake Theatre. He is very talented, and although scarcely more than a boy in years, has produced some very fine work here and at the Tabor Grand Opera House, Denver” (30 June 1883, page 8). Again, all roads lead back to the Tabor in this story. In addition to Henry C. Tryon and Henry E. Burkcy, Spencer Tryon was also painting scenery for the Tabor Grand in Denver.

In regard to the Hoornbeck’s adopted family, Horatio Tryon was an artist and sculptor. He made a name for himself in the East before moving to Chicago, working in New York during the 1850s. The 1857 New York Directory listed, “Tryon, Horatio, marble, h. 270 W. 31^st .”

By 1863, Horatio Tryon’s Civil War Draft Registration listed him working as a sculptor in New Haven, Connecticut. Shortly after registering for the draft, Tryon relocated to Chicago, soon being listed in the 1864 directory at 221 Washington. Horatio Tryon remained in Chicago for the remainder of his life, passing away in the late 1870s. By 1878 Estella Tryon was listed as a widow by 1878, but again, still living with Henry C. Tryon.

HenryB. Hoornbeck not only created a new name, but also a new birthplace and background story.  Years later, the article about Tryon pasted in Thomas G. Moses’ scrapbook provided the following information:

“Henry C. Tryon. Born in Chicago in 1847.  After graduating from the public schools, and while o his 17^th year, he enlisted in the army in a regiment attached to the Second Army Corps, Army of the Potomac, serving until the close of the war. Afterward was a pupil of the Pennsylvania Academy of Design, with the purpose of becoming a landscape painter, drifting there by choice and mostly by accident into scene painting, which he has practiced in nearly every State in the Union. Was an artist at Wood’s Museum at the time of the great fire, and afterward at McVicker’s Theater. He is better known in all the other large cities than in Chicago. Has been a pupil of the eminent artists William Hart, N.A. and Thomas Moran, N. A. and accepted an associate member of the Chicago Academy in 1874. He earned a 2^nd degree and is a member of the Grand Army of the Republic. He had a large and varied practical experience, is a close student, has a fine education, and has given considerable attention to newspaper writing on art and theatrical subjects. His most noticeable points of excellence and perhaps free and carefulness in the handling of foliage brilliancy and quality of color and the delightful shape of them.”

Here is the history for Henry B. Hornbeck (Hoornbeck) that I have uncovered to date: Henry was born in Huron, Ohio, the son of Jacob Hoornbeck (1813-1864) and Anna Maria Hammer Hoornbeck (1824-1892). In 1850, the family was living in Portland, Ohio. Henry’s siblings included William Patterson (1848-1907), Mary (1851-1854), Sarah (1854-1858), Dell (1855-?), and Spencer (1863-?). In some historical records, Henry C. Tryon, was listed as Spencer’s father; possible with the sixteen years age spread. The patriarch of the family, Jacob Hoornbeck, passed away in 1864. At some point during the 1860s, the Hornbeck family moved to New York.It remains unclear what prompted the move.

Civil War Muster Roll Abstracts list a Henry B. Hornbeck, enlisted in New York on February 16, 1865 and mustered as a private in the 69^th Infantry on that same date. He was reportedly 19 yrs. old at the time, with his birth year noted as 1846. Military records list his occupation as a clerk, describing Henry as 5’-3 ¼” with light hair, blue eyes and a fair complexion.

In Chicago, the earliest mention of a Henry C. Tryon in the newspapers appears in 1868. That year a “Henry C. Tryon” was listed as playing the role of “page” in “Elizabeth,” starring Mrs. Lander (Jean Davenport) at the opera house (“Chicago Tribune,” 11 Feb., 1868, page 4). Two years later, Tryon was listed as one of the scenic artists for Allen’s Globe Theater in Chicago. He was also painting for Wood’s Museum, working there up until the great fire of 1871. As most other artists at this time, Tryon was worked as an itinerant artist, especially in the west. During the winter of 1870, Tryon found additional work in Lawrence, Kansas. The “Daily Kansas Tribune” reported, “Mr. Henry C. Tryon, from Allen’s Globe Theater, Chicago, is at present painting the scenery for the stage in Frazer’s Hall” (The Daily Kansas Tribune, 28 Dec. 1870, page 3). The installation consisted of “drop curtain, seven sceneries, tormentor wings and front drapery, representing a garden, palace, landscape, kitchen, prison, parlor, plain chamber and street, with wings and borders complete.

He also worked in Topeka, Kansas, that year. On January 31, 1871, the  “Kansas State Record” reported, “Mr. H. C. Tryon, the scenic artist from Chicago will commence painting scenery for “Esther,” to-day. Look out for something beautiful. Mr. Tryon is one of the finest artists in the West” (Topeka, Kansas, page 4).

1872 advertisements in the “New York Clipper” announced, “Henry C. Tryon. Late Scenic artist Woods Museum, Chicago is prepared to paint scenes and drop curtains for theaters, public halls, etc. 363 W. Indiana St. Chicago, Illinois” (13 April 1872, page 20). By summer of 1872,  advertisements about Tryon still appeared in the “New York Clipper,” but with a new address – 210 Clark Street.

To be continued…

In 1884, scenic artist Henry C. Tryon (1847-1892) wrote: “A general overhauling is made of the stacked-up scenery, and anything will do which is near the size of what is required – the shape doesn’t matter… The same set pieces have done versatile duty in most of the theatres here for years.”

Here is an example of what Tryon was talking about. A previous door flat was flipped on its side and repurposed for a garden scene, despite the door. I have also included some remaining pieces of the scene as it no longer exists in its entirety. The repainted door flat was again repurposed for the wall of a shack.