Tales from a Scenic Artist and Scholar. Part 1116 – Scenic Artists, Henry C. Tryon (1847-1892) and William C. Morris (1844-1889)

Copyright © 2020 by Wendy Waszut-Barrett

William C. Morris first popped onto my radar after my trip to the Tabor Opera House in Leadville, Colorado, last spring. While documenting the historic scenery collection, I encountered a tree profile painted by Frank Cox in 1888. Cox painted his initials on the set piece, as if they were carved into the trunk. In addition to his initials (“TFC” for Tignal Frank Cox), he painted the initials “WM” and “JC” below. Although it was a long shot, I decided to see who was working as a scenic artist in the west at the time, with the initials W. M. My search resulted in five possibilities, with William Morris as one of the options. Regardless of whether the painted initials “W.M.” were for William Morris or not, Morris entered into the Henry C. Tryon storyline by 1882. Both painted for the Salt Lake Theatre. Let me provide a bit of context first.

On September 14, 1882, the “Salt Lake Herald” reported, “Mr. Henry C. Tryon, a well-known scenic artist, is en route for San Francisco, on pleasure. Mr. Tryon is the scenic artist of the Tabor Grand Opera House in Denver”  (page 5). Regardless if the intent were pleasure or work prospects, a few month later the San Francisco Opera Tryon a position as their scenic artist. He published this offer in January 1883, using it to pressure the Salt Lake Theatre into also offering him a position; a smart move that worked.

In the spring of 1883, Tryon again headed west to the coast, this time bringing a friend and fellow scenic artist, William Clyde Morris. At the time, Morris was a thirty-nine yrs. old Salt Lake City Mormon. On March 12, 1883, the “Deseret News” announced, “Back from the Coast.-To-day Mr. Henry C. Tryon and Mr. W. C. Morris, returned from their trip to California. They took in all the sights anywhere near San Francisco and had a very enjoyable time. They received marked courtesy everywhere and had freedom of all the theatres at all hours.” (Deseret News, 12 March 1883, page 3).

After painting scenery for the Tabor Grand Opera House and Tivoli Theatre in Denver, Tryon working in Utah alongside many locals, such as William Clyde Morris and Alfred Lambourne. William Clyde Morris’ father, William V. Morris, was primarily a decorative artist, but also painted scenery for the Salt Lake Theatre until the time of his passing in 1878. His death was possibly why the Salt Lake Theatre sought out Tryon, another experienced scenic artist from the region. In 1882, Henry C. Tryon and his little brother Spencer were working at the Tabor Grand Opera House in Denver. Both the Tabor Grand Opera House and the Salt Lake Theatre were located on the same circuit for many touring productions, the venues also shared artists.

From the fall of 1882 until the fall of 1883, Morris worked alongside the Tryon brothers at the Salt Lake Theatre. Morris and Spencer Tryon were credited with a railroad scene for the production of “Forbidden Fruit.” On January 30, 1883, the “Salt Lake Herald” reported that the scene “was displayed last night for the first time in “Forbidden Fruit.” The article announced that their scene, “called forth a well-deserved round of applause,” elaborating, “It was excellently painted, being full of character, and although (from the nature of the subject without any pretense to color, was beautiful owning to its truth and solidity.” The article’s author congratulated each artist, noting, “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. We congratulate Mr. Morris upon the opportunities for the display of his recognized ability, which the scenery at the Salt Lake Theatre has given him, and which will give him in the future, as he has been engaged to assist the artist upon all work done.” This presents Morris as the assistant to the Tryon Brothers.

Morris’ father was a well-known decorative artist the Salt Lake area.  William V. Morris (1821-1878), William Clyde Morris (1844-1889), and William Charles Morris (1871-1853) all worked as painters, specializing in the decorative artists. It is difficult to juggle all of the details surrounding the Morris family due to multiple marriages and dozens of off spring.  I’ll try to stay on task, so here goes…

William Clyde Morris (1844-1889) was the son of William Vaughan Morris (1821-1878) and Sarah Isabelle Gwilt (1826-1851). Morris was born on July 15, 1844 in Liverpool, England, the only child born to the couple. His mother died in Liverpool when Morris was only six years old. Father and son migrated to America sometime after that and joined a Mormon wagon train by 1855. They are recorded as participating in Mormon Pioneer Overland Travel’s Company 11. Their wagon train departed at the end of July in 1855 and arrived at the beginning of November of that same year.  61 individuals and approximately 34-38 wagons departed the outfitting post at Mormon Grove in Kansas (near Atchison), bound for the Salt Lake Valley. Mormon Grove was really a temporary village, a rallying point where members from the Church of Latter-Day Saints gathered prior to emigrating west. In 1855, nearly 2,000 Latter-Day Saints with 337 wagons left Mormon Grove for Salt Lake. Here’s the link to “The Mormon Trail: A Photographic Exhibit,” as it is a fascinating story- https://historytogo.utah.gov/mormon-trail-exhibit/

On the trail, William married his second wife, Hanna Hinchliffe Midgley (1928-1892); their marriage date is recorded as September 5, 1855. The couple celebrated the birth of two sons, Thomas Conway Morris in 1858 and Brigham Morris in 1862, half-brothers to William Clyde Morris. Only Thomas survived to adulthood. William V. Morris also married Nancy Cook (1833-1909) and the couple celebrated the birth of Hanna Barbara (1866-1931) and Eli Elias (1873-1940). There is no record of divorce and Hannah did not pass away until 1928. So, it appears that William V. was married to both Hannah and Nancy at the same time, fathering nine children between the two. Also, in 1861 Morris was naturalized, becoming a citizen of the United States of America (“Deseret News,” 11 Sept. 1861, page 5).

William Clyde Morris on seems to have married only once. On June 21, 1868, he married Diantha Empey (1848-1928). The couple celebrated the birth of  five daughters and two sons: Mary Ann (1871-1927), Diantha Isabelle (1873-1940), William Charles  (1874-1940) and Price LeRoy (1877-1958), Cora Conway (1881-1893), Minevia Morgan (1883-1904), and Klea Vaugh (1888-1972). His son, William Charles Morris, also became an artist. This muddies the waters, as they both went by William C. Morris.

In 1870, William V. and Willian Clyde ran the painting firm of Morris & Son in Salt Lake City. Posted notices in the “Deseret News” advertised, “Painting in all its branches by Morris & Son. We beg to offer our services to the public at large in our line of business on a reasonable term as any other form. Plain House painting; glazing and paper hanging; carriages, signs, both plain and fancy; ornamental decorations and gilding; graining and marbling of all kinds; and theatrical decorations and sceneries” (18 Jan 1870, page 1). Their shop was in the Alley on Main Street, rear of E. Martin’s Photograph Gallery. In 1873, William Clyde designed the new diploma for the Agricultural and Manufacturing Society of Utah (Deseret News, 26 Nov. 1873, page 9).

Morris & Son were also mentioned in 1874, when they directed the decorations for the Sunday School Jamboree, a big event in Salt Lake. Little is mentioned in regard to the firm after that, and by 1878, William V. passed away.

William Clyde continued work as a decorator. In January 1888, he became part of the art committee with George M. Ottinger, Henry Squires and Mrs. Reading for a benefit art drawing for Harry Brown of Logan. By the way, Ottinger also worked as a scenic artist for the Salt Lake Theatre.

By fall 1888, Morris was primarily producing signage for the Utah Exposition building, constructed by the Deseret Agricultural and Manufacturing Society on the Tenth Ward Square in Salt Lake City. On September 29, 1888, Morris placed the following advertisement:

“W. C. Morris, the Decorator is still in the front! Notice! Notice! W. C. Morris, having secured the privilege of introducing Pictorial Signs to advertise the Prominent Business Firms of this city in the Utah Exposition Building, is now running his force to the fullest extent, and as the line is limited, parties interested will please bring in their orders immediately. Size of panels 8 x 14 ft. Painted and Lettered in the Highest Style of Art. For further particulars see W. C. Morris.” (page 3). Many events surrounded the opening of the building, including an art exhibition. On Oct 5, 1888, the “Salt Lake Herald” reported that W. C. Morris’ entry in the art department for the Utah Exposition. He was awarded best ornamental painting, silver medal, and best display pastel work, vegetables. Morris continued to focus on decorative work for the remainder of his career.

William Clyde Morris and William V. Morris were remembered in an article published in the “Ogden Standard-Examiner” on Feb. 3, 1924 (page 5). The article reported, “In 1861, George M. Ottinger arrived in Salt Lake City and permanently established himself in his profession. At this time the people of Utah had somewhat emerged from the straightened circumstances of earlier days and buildings were being erected with some pretentions toward ornamentation. The Salt Lake Theatre was shortly completed and Ottinger, the painter, and William V. Morris, the decorator, found employment in painting the scenery and decorations. It was later carried to completion by William Morris’ son, William C. Morris on whose shoulders the mantle of his fathers’ talents seems to have fallen.” This article also indicates why Tryon was hired at the Salt Lake Theatre in 1883 when it was renovated. Tryon brought the theatrical experience necessary for the successful completion of the project, as he specialized in stage art.

To be continued…