Copyright © 2021 by Wendy Waszut-Barrett
Henry C. Tryon worked at Sosman & Landis between 1884 and 1886. Born in 1847, Tryon’s original birthname was Henry B. Hoornbeck. Interestingly, this scenic artist not only created not only a new name for himself, but also a new birthplace and background story by 1886. On Feb. 28, 1886, Tryon was one of six scenic artists featured in the “Inter Ocean,” alongside other Sosman & Landis artists that included Thomas G. Moses, Walter W. Burridge, Charles Ritter, David A. Strong, and John H. Young.
Here was Tryon’s listing:
“Henry C. Tryon. Born in Chicago in 1847. After graduating from the public schools, and while in his 17th 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 2nd 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.” Henry continued to rewrite portions of his history throughout the course of his career.
Historical records and newspaper articles present a slightly different history than that one recounted by Henry in 1886. Henry C. Tryon was actually born in Huron, Ohio, between 1846 and 1847. Interestingly, his death certificate listed Sandusky, Ohio; Sandusky is a little east of Huron, but also along the shores of Lake Erie. Henry was the son of Jacob Hoornbeck (1813-1864) of Otswego, New York, and Anna Maria Hammer Hoornbeck (1824-1892) of Hagerstown, Michigan. In many historical records, the alternative spelling for Hoornbeck was Hornbeck. By 1850, the Hoornbeck family had moved west and 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 was listed as Spencer’s father, but this aspect remains a mystery.
The patriarch of the Hoornbeck family was Jacob, who passed away in 1864. At some during the Civil War, the Hornbeck family moved to New York. It remains unclear what prompted the move, however, New York Civil War records list Henry B. Hornbeck enlisted in the Union Army on February 16, 1865, mustering out as a private in the 69th Infantry on that same date. Military records also list his occupation as a clerk, describing Henry as 5’-3 ¼” with light hair, blue eyes and a fair complexion. “Light” hair is relative, and does not necessarily mean blond. After serving in the war, the Hoornbeck family relocated to Chicago, and by 1870 Anna Maria Hoornbeck was living with her sons Henry, Dell, and Spencer.
By 1872, Henry B. Hoornbeck was working as a scenic and changed his name. The following year, Tryon married Bridget “Bee” Pierce on Nov. 13 in Chicago. They celebrated the birth of one only son, Henry Tryon Jr., on August 18, 1874. It remains uncertain as to what happened to either Tryon’s wife or son. I have yet to locate any record of death, abandonment, divorce or remarriage. However, by 1884, Tryon was courting another woman; one that he never married. Tryon’s early theatrical career is about as difficult to interpret.
The earliest publication of Henry C. Tryon’s theatrical activities date from 1868 in Chicago. That year, 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 February 1868, page 4). Although Henry was performing under the name Tryon, he was still living under his birthname of Henry B. Hoornbeck. The 1870 Chicago Directory as Henry Hoornbeck, living with his mother and brothers (Dell and Spencer) at 384 W. Lake. That same year “Henry C. Tryon” was working as a scenic artist, painting at D. R. Allen’s Globe Theater, Aitkin’s Museum and Wood’s Museum (Chicago and Cincinnati). At Allen’s Tryon worked alongside scenic artists James H. Rogers and John M. Kaufman. He would continue to work with Rogers on various projects for the next few years. As an itinerant artist, Tryon worked throughout the region, soon venturing west and into Kansas. During the winter of 1870, Tryon secured 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 stage 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.
Tryon also worked in Topeka, Kansas, and 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). In the 1870s, Tryon cast his net wide and accepted work anywhere in the country. This still meant that his permanent residence was in Chicago. It was the Chicago Fire of 1871 that greatly changed the prospects for Tryon many scenic artists in Chicago. By 1872 Tryon was part of a group of scenic artists who banded together to create Alderson’s Great Panorama of the Chicago Fire. The panorama immediately toured the country, and included musical accompaniment and descriptive recitations. Advertisement’s for the panorama stated, “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 C. 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, San Francisco, 31 July 1872, page 1).
On April 13, 1872, Henry C. Tryon advertised in the “New York Clipper”: “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). He continued to place ads in the “New York Clipper,” but his address soon changed from 128 W. Randolph to 210 Clark Street. At this time, he permanently changed his name from Hoornbeck to Tryon. Early in 1872, Tryon was also working as an assistant to Mr. R. H. Halley’s assistant, painting scenery for the Wyndam’s Comedy Co. (Chicago Tribune, 5 May 1872, page 7). Halley had recently returned from Europe. 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).
At the same time Tryon worked with Halley, he also studied with Lou Malmsha of McVickers. October 22, 1882, Tryon wrote a tribute to Malmsha. Tryon wrote, “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.” Mamlsha and Halley were among the top in their profession in the 1870s. On September 18, 1872, the “Chicago Tribune” noted that both Halley and Malmsha were “schooled under the artistic Telbin, of London, and others, and reflect lustre on their names as men of merit and talent” (page 4). Tryon worked with Malmsha not only at Wood’s Theatres in Chicago and Cincinnati, but also McVicker’s Theatre in Chicago. Tryon could not have picked better two individuals to study with in the 1870s. It was during this time that Tryon officially changed his name in Chicago.
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). The 1872 Chicago Directory listed “Henry C. Tryon, scenic artist” residing at 128 W. Randolph. Tryon was not a random choice. At the time, he was living with the Horatio Tryon (b. 1826) and Estella Tryon. It is unclear as to when Henry met the Tryons or the exact nature of their relationship, but it was likely an apprenticeship. To all indications, Henry adopted the older couple and functioned as a son until Horatio’s passing. Both Henry and Horatio Tryon were listed as artists in the business section of the Chicago Directory in 1872, each residing at 128 W. Randolph. In print, it appears to be a father-and-son partnership. Henry continued to list his permanent residence with the Tryons until 1879.
Horatio Tryon was an artist and sculptor who made a name for himself in the East before moving to Chicago. The 1857 New York Directory listed, “Tryon, Horatio, marble, h. 270 W. 31st.” By 1863, Horatio Tryon’s Civil War Draft Registration listed him working as a sculptor in New Haven, Connecticut. Shortly after Horatio Tryon registered for the draft he relocated to Chicago, and soon was 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.
During the 1870s, Tryon painted scenery for the renovated Academy of Music in Indianapolis, Indiana (1874), the Grand Opera House in Cincinnati, Ohio (1875). Henry C. Tryon and Lemuel L. Graham formed a scenic art partnership that lasted from the summer of 1876 to the spring of 1877. 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).
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 partnership did not last long and Tryon was soon on his own again.
In 1878 Tryon was credited with the stock scenery for the new opera house in Monticello, Iowa. On March 14, 1878, The Inter Ocean mentioned the scenic artist for Monticello, Iowa’s new opera house: “The scenery by Henry C. Tryon, scenic artist of Chicago is superb” (page 5). On that same day, the Dubuque Daily Times also mentioned the new opera housein Monticello, reporting, “The structure – the school house above and the Opera House underneath – is the pet and pride of our town, and great interest was taken in its dedication. It is pronounced by good judges to be one of the finest public halls in the west, and by far the nicest in Iowa outside Dubuque, Davenport and Des Moines. The scenery painted by C. H. Pyron [sic. H. C. Tryon], the famous scenic artist of Chicago, and it was really elegant” (page 2).
Tryon then became well-known for his transformation scenes, especially those as featured in “The Black Crook.” On May 25, 1878, an Indianapolis newspaper known as “The People” included an article and advertisement for a “Spectacular Combination.” The article advertised, “Introducing, through a tale of enchantment, all the scenery, ballet costumes, etc., of the BLACK CROOK! Elegant scenery by Tryon, Malmsha, Burcky and Strong” (page 8). Tryon was specifically credited with the “dazzling transformation scene” in the advertisement. Soon thereafter. Tryon was also credited with painting new scenery for a revival of “A Tale of Enchantment” for the Coliseum theatre in Cincinnati, Ohio.
In 1878 Tryon also partnered with his brother William P. Tryon. During this period, William P. Hoornbeck also changed his last name to Tryon, going by William P. Tryon. The two brothers were living with Estella Tryon, now listed as Horatio Tryon’s widow, at 198 W. Lake Street in Chicago. The “Tryon Brothers” produced “A Tale of Enchantment.” This was a touring spectacle in four acts based on “The Black Crook.” On February 24, 1879, an advertisement for Baltimore’s Front Street Theatre attractions featured the show. Their advertisement in the “Baltimore Sun” listed Tryon Brothers’ production, “A Tale of Enchantment. Replete with all the elements of the most wildly romantic interest, produced at an actual cost of Three Thousand Dollars. 100 Superb and Costly Dresses. Rich Appointments, Glittering Paraphernalia.” After a series of legal battles concerning the production’s similarities to the “Black Crook” and another version produced by the Kilrafy Brothers, the Tryon brothers ended their touring engagement and sold the stage settings. On Dec. 25, 1880, the “New York Clipper” included an advertisement for the sale of previously-used scenery painted by Henry C. Tryon: “SCENERY for a tropical transformation , properties, dresses , etc… and the manuscript and music or The Tale of Enchantment are offered for sale by Henry C . Tryon , who advertises.” (New York Clipper, 25 Dec 1880). Interestingly, Tryon was also credited with delivering scenery for a production of “The Black Crook” at Niblo’s Garden in New York in 1879; Tryon and Edward Simmons were credited with the scenery. Tryon was again working alone.
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 workers 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).
The two worked together, forming a brief partnership for the duration of the project, as well as working alongside several well-respected scenic artists that included Fox, Magnani, Humphreys, Hughes, and Rettig & Waugh.
After working in Cincinnati, Tryon headed west to Minneapolis, Minnesota where he worked later that spring. On May 21, 1881, the “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). Within a few weeks, Tryon left Chicago and headed west with his younger brother Spencer to Denver, securing work at the Tabor Grand Opera House. The Tabor Grand Opera House opened on Sept. 5, 1881, with the Tryon brother’s painting the stock scenery. Spencer who also adopted the lats name of Tryon while working with his brother in the West. While in Denver, Henry C. Tryon was credited with scenery for Tivoli Theatre too. On May 24, 1882, Tivoli Theatre advertisements in the “Colorado Daily Chieftain,” announced, “Complete set of new scenery! From the brush of Henry C. Tryon, scenic artist of the Tabor Grand” May 24, 1882). By June 1, 1882, the “Colorado Daily Chieftain” announced, “Henry C. Tryon, the scenic artist, is making constant additions to the Tivoli scenery. The gentleman has few superiors in his line” (page 3).
Regardless of his work at other Denver theaters, or his initial work in Utah, Tryon remained associated with the Tabor Grand Opera House of Denver throughout 1882 On September 30, 1882, the “Ogden Standard” referred to Tryon as “Mr. Henry C. Tryon, of the Tabor Grand Opera House.” Burcky followed in Tryon’s footsteps two years later. After the Tryon brothers left for Utah, Burcky became associated with both the Tabor Grand Opera House in Denver and Tabor Opera House in Leadville, Colorado. The Tryon brothers remained in Salt Lake City for the next few years, painting new stock scenery and special scenes for the Salt Lake Theatre, as well as working on other projects in the area. By the spring of 1883 Tryon was listed as the official scenic artist for the Salt Lake Theatre. Just prior to accepting this position, the San Francisco Grand Opera also offered Tryon a position as scenic artist at their establishment. It was this offer that helped Tryon negotiate work at the Salt Lake Theatre.
In Utah Tryon worked with many local artists, such as decorative painter William Clyde Morris and landscape artist Alfred Lambourne (1850-1926). Lambourne referred to his mentor as “that erratic genius, that Bohemian of Bohemians.” Of his training with Tryon, Lambourne wrote, “…I worked with Tryon about seven weeks. Not on the paint gallery of the Salt Lake theatre, but in one of our southern towns, where we had taken a contract, jointly, for furnishing a set of stock scenery. Those seven weeks were among the most exciting, and from the art standpoint, most profitable of my life. Tryon arrived in Salt Lake City, after a long and successful season of scene-painting in Chicago, and at the Tabor Grand, in Denver. Who, that knew the man, could ever forget that walk, that shock of unkempt red hair, that shrewd ingratiating smile and fun, the enthusiasm, or flash of anger in those steel gray Irish eyes. How distinctly I remember the low suppressed tones of his voice and the sparkle in the same eyes, as he once confronted me and uttered these words: “I have never yet met a man whose combativeness I could not overcome with my own.” (quote from “Reuben Kirkham: Pioneer Artist” by Donna L. Poulton, PhD.)
From the fall of 1882 until the fall of 1883, Morris worked alongside the Spencer Tryon at the Salt Lake Theatre. On January 30, 1883, the “Salt Lake Herald” reported, “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.”
Henry Tryon worked as a scenic artist and author in the Salt Lake City area until 1884 before heading to Chicago. While in Salt Lake, Tryon’s name constantly appeared in regional newspapers. In addition to painting new scenery, Tryon also exhibited much of his easel art and submitted several articles to the “Salt Lake Daily Herald.” His creative ponderings included articles entitled “Artistic Flashes” and “Art vs. Skill.” Tryon also published a passionate tribute to his former mentor and friend, Lou Malmsha, upon his passing in October 1882. He continued to work as an itinerant artist in 1883, leaving Spencer and Morris in Salt Lake. In 1883, Tryon painted scenery for the new Scottish Rite Theatre in Indianapolis, Indiana. While working in town he was listed in the Indianapolis City Directory, boarding at the Bates House.
By 1884 Tryon returned to Chicago and began working at Sosman & Landis Scene Painting Studio. The memoirs of Thomas G. Moses provide some insight into Tryon’s training. Moses commented that Tryon’s arrival enthused him more than anyone before. They became close companions and soon planned an outing. Moses wrote, “I certainly enjoyed talking on any subject with Tryon. He was very strong on politics, which did not particularly interest me. He was very interesting when it came to anything on art. He had been a pupil of Thomas Moran. Tryon told this story: He had bothered Moran for some time trying to induce Moran to take him on as a pupil. Moran was too much of a gentleman to throw Tryon out of his studio, so he finally took an old canvas, slapped on a lot of color with a palette knife, handed it to Tryon and said: “Take home that, make a picture out of the accidentals and bring it back in a week.” Moran felt that Tryon would throw the canvas away and not come back. The week-end found Tryon back and Moran was so well pleased with the result that he took Tryon in as a pupil, which was very beneficial to Tryon who followed Moran’s style of work even into his scenic painting, as well as his oil. He enjoyed telling this story; he surely must have made a good picture of Moran’s accidentals.” Moses’ memoirs paint a very colorful pictured of Tryon as an extremely eccentric artist.
In 1885, Tryon, Moses and John H. Young went to West Virginia on a sketching trip. Moses wrote, “Henry Tryon and I started for West Virginia on a sketching trip. I had more bother and worry with Tryon than a hen with a brood of chickens; he was simply impossible. A very clever painter but he was not balanced – very temperamental.” Moses remembered Tryon as “eccentric,” and recorded some pretty humorous episodes about the older artist on the sketching trip. His memoirs provide additional insight into Tryon’s artistic temperament.
Moses wrote, ““When we three were working together there was a constant stream of talk, not always about art. Tryon was very fond of an argument. One instance: In painting a rock in the water, the wet part of the rock, being so much darker, forms a sharp line on the top of the water. Young and I had always painted a light line – Tryon proved to us that the line was dark and water threw a shadow on the rock. He would lie on his back for hours studying the light coming through the eaves of a red maple. At that time of year, the color was fine. He succeeded in making a very effective sketch; the undertone was fine and the cool, grey lights were very effective.”
By the end of 1884, Tryon wrote a scathing article entitled “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago.” It was published on Dec. 28, 1884, in the “Chicago Tribune.” He remained at Sosman & Landis and was included with six other Sosman & Landis artists in the Feb. 28 “Inter Ocean” article. He remained in Chicago for the next few years until heading east to Massachusetts.
Tryon’s return east was partially prompted by romance. On June 18, 1884, the “Salt Lake Herald” reported, “Henry C. Tryon, the scenic artist, wrote from Haverhill, Mass., that he is about to perpetuate matrimony, and he sends a photo of the beautiful lady whom he designates as the victim. In gazing at the picture and thinking of Henry, we wonder how he was able to “work the act” (page 8). After returning to Sosman & Landis, Thomas G. Moses also mentioned Tryon’s romantic attachment when the two went on the 1885 sketching trip to West Virginia. Moses wrote, “At this time, Tryon was very much in love with a schoolteacher in Haverhill, Massachusetts, whose name was Hattie. He promised to write her every day and she had promised to reciprocate. So, we spent the evening writing letters to our dear ones.” Tryon’s love interest was Hattie R. Goodwin. The 1885 Haverhill Directory listed Miss Hattie R. Goodwin as a teacher at Bowley School, boarding at 136 High. This was the same woman who would later married Henry’s brother William.
I have yet to locate any additional information about Hattie or a second marriage for Tryon in the 1880s. Interestingly, it was his brother William P. Hoornbeck who married Harriet R. Goodwin (1863-1918) in Haverhill, Massachusetts on August 1, 1888. In their marriage registration, Hattie was listed as a schoolteacher. William was definitely Henry’s brother as he listed the same birthplace and date as in their other family records. By 1889, William and Hattie celebrated the birth of their first daughter, Helen P., in Chicago. Regardless of how the romantic intrigue, in 1887, Tryon was working in Lawrence, Massachusetts, a neighboring town to Haverhill. Tryon painted scenery for the Lawrence opera house. The next year, his brother was married to Hattie.
Tryon stayed in Massachusetts and y 1891, was making associated with Boston’s Bowdoin Square Theatre. On Dec. 11, 1891, the “Boston Post” reported, “Work on the Bowdoin Square Theatre is progressing most satisfactorily. The contract to paint the scenery has been awarded to Henry C. Tryon, one of the first artists in the country and a pupil of Robeechi the leading scenic artist in Paris” (page 4). This information is questionable and remains unsubstantiated. So much of his history, as told by Tryon to the newspapers, was falsified or slightly twisted. Looking at Tryon’s life is like looking at a landscape through stained glass; everything takes on a slightly different color.
Tryon passed away on July 27, 1892, His death was entered into city records at Lawrence, Massachusetts. His death record listed Tryon as a scenic artist from Chicago; the cause of death was noted as Bright’s Disease. It all seems to have happened to fast. On February 14, 1892, the “Boston Globe” credited Tryon with the front draperies, drops curtain and several other scenes for the new theaters. Tryon and A. H. Davis were listed as part of the executive staff there. In mid-summer 1892, Tryon was a pallbearer at the funeral of friend and fellow scenic artists William Voegtlin. Tryon’s own funeral happened before the end of summer.
Tryon passed away in relative obscurity, with newspaper announcements stating, “Scenic-Artist Henry C. Tryon died at Lawrence, Mass.” (Pittsfield Sun, 4 Aug. 1892, page 6).
To be continued…
