Month: June 2021

Copyright © 2021 by Wendy Waszut-Barrett

Charles H. Ritter worked at Sosman & Landis sporadically throughout the 1880s and 1890s. Like most of the artists on staff, he was also affiliated with other theaters and even ran his own business during this time. He was part of the Sosman & Landis labor pool that produced a massive amount of scenery during this time. Although a definitive start date remains unknown, he was working for the firm in 1885 and moved into the new studio in 1886.

On Feb. 28, 1886, Ritter’s portrait was included with those of  David A. Strong, John H. Young, Walter W. Burridge, Thomas G. Moses, and Henry C. Tryon in the “Inter Ocean” Newspaper. All were featured in an article entitled “Up in the Clouds” (page 9).  The article included “Brief Sketches of Chicagoans Prominent in Difficult and Exacting Art.”  All of the scenic artists featured in the article were associated with the Sosman & Landis studio at the time.

Under Ritter’s portrait was the caption:

 “Chas. H. Ritter who is a present engaged at Hooley’s stand’s deservedly high in the profession, and has painted scenes at that house for the past five years. He was born in New York and studied with Richard Marston at the Union Square Theater for a period of eight years during the management of Shook and Palmer. He is the inventor of a foreground for the cylindrical panoramas, which adds much to the illusion by rendering the line between the foreground of properties as now used and the painted distance without possible detection.”

One month before the article appeared in the “Inter Ocean,” the new Sosman & Landis studio opened on South Clinton Street.  Costing over $50,000, the new building remained the permanent home for firm until 1923.  Moses and Strong were the first employees to work in the space during 1886; their project, a panorama.  Of this new studio, Moses wrote, “Our new studio on Clinton Street was now ready for us and Mr. Strong and I started on a very interesting panorama of Grant’s trip around the world.  We were alone in the big studio for some time before the whole force came over.  We enjoyed painting the panorama as it was continuous. There was some careful blending to be done.” Ritter was part of that force and had recently patented a structure for panoramas and dioramas.

Many of the scenic artists at Sosman & Landis were familiar with the painting and mechanics for both moving and stationary panoramas.  Ritter applied for a patent for “Dioramic or Panoramic Structure” on September 19, 1885. His patent was filed on March 16, 1886. Here is the link, https://patents.google.com/patent/US337869A/en?q=panorama&before=priority:18870101&after=priority:18860101

This was a little difficult to track down as the recognition software erroneously translates his last name as Bitter, not Ritter.

The mid-1880s were an exciting time for scenic artists in Chicago. The first exhibition of watercolor paintings by American Scenic Artists were the feature for “The Scene Painters’ Show during the fall of 1885. During the spring of that year their exhibit was planned. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4).  

Well-known scenic artists from all over the country descended on the Windy City and stayed. Sosman & Landis was able to hire the best and advertised this fact in their catalogues. By 1894, the firm advertised, “Our artists are selected with reference to their special abilities. Some excel in designing and painting drop curtains, others in landscapes, and others in interior scenes; so we divide out work that each is given what he can do best.” They streamlined the process by working toward the strengths of each employee. Ritter was especially well known for his exterior painting abilities.

Ritter was born in New York in approximately 1845. He was first listed as an artist in New York by 1867, residing at 128 Eldridge.

He first studied with Richard Marston at Shook & Palmer’s Union-Square Theater in 1871. Subsequent listing from 1875 to 1880 in the New York Directory continued to included Ritter at 69 Fourth Av. and then 202 B 16^th. He remained at the Union Square Theare for eight years before moving west to Chicago where he became associated with Hooley’s Theatre, the Grand Opera House and Sosman & Landis.  By 1888, Ritter was prominently listed in the Chicago Directory as Hooley’s scenic artist, boarding at the Southern Hotel. His affiliation with Sosman & Landis was still mentioned when Ritter painted scenery in Indianapolis a decade later.  The firm placed Ritter at the Grand in Indianapolis at the same time they placed Fred McGruder at the Pike Theatre in Cincinnati, Ohio. This was after the establishment of Sosman, Landis and Hunt, a theatrical management firm. They staffed their new theaters with some of their best scenic artists to paint scenery and other shows for the season. This was brilliant, as it also provided regional offices to efficiently produce scenery.

On November 2, 1898, the “Indianapolis Journal” reported,

“The man who had a prominent hand in the beautiful stage settings seen at the Grand during the past three weeks and who has, up to this time, been unknown here, C. H. Ritter. Mr. Ritter came from the studio of Sosman & Landis, at Chicago, six weeks ago, and will remain all winter at the Grand, getting up scenery for each production. While, of course, he has been furnished every week with an outline of just what is needed for the coming week’s play, the artistic portion of the painting is altogether his own. He has given ideas here and there, but, in the main, the beautiful scenery, which affords so much pleasure each week to the eye, can be credited to his brush. Mr. Ritter is said to be one of the best scenic artists in the country. For nine years he was the artist at the Union Square Theatre, New York, and for seven years was engaged in a similar capacity at Hooley’s Theatre, Chicago. He painted all of the stock scenery of the Grand Opera House, Chicago, and his more notable achievements for stars and road companies include all of the settings for Richard Mansfield’s production of “The First Violin,” Modjeska’s plays, Roland Reed’s plays, “The Devil’s Island” and the last act of “The Moth and the Flame,” which was seen at English’s last week. Sosman & Landis regard Mr. Ritter as one of the most capable scenic artists ever in their studio, and they selected him for the Indianapolis work with a view to giving this city the best possible results in the scenic line. Mr. Ritter, with the help of one assistant, gets up all the scenery for the stock company’s production” (page 5).

As with McGruder in Cincinnati, the artistic process was described in detail for an upcoming production. It was a brilliant marketing move. On March 29, 1899, the “Indianapolis News” reported:

“GRAND’S SCENE PAINTER.

A Visit to His Workshop in the Theater.

A Network of Ropes and Much Apparent Rubbish Turn Out to be Parts of an Ordinary System of Scenic Arrangement.

The beautiful scenery used at the Grand Opera House, which has become so much a feature of every play, Is the work of Charles H. Ritter, head of the scene-painting department of the stock company. To reach Mr. Ritter’s workshop, a long, narrow, rickety flight of stairs must be mounted. The place looks like a neglected attic, with rubbish scattered about In apparent confusion. A network of heavy ropes confuses the senses. The piles of “rubbish” are soon seen, however, to be articles useful in decorating a stage or portions of scenes, while the network of ropes become an orderly, systematic arrangement of “stays” and “guys” by which pieces of scenery are raised or lowered.  Immediately behind this mass of cordage Is a platform, about five feet wide, supported by large cables at either end. On this narrow, swinging base, the men who paint the scenery that pleases comfortably-seated audiences nightly, are obliged to stand while they work. On each side of this platform Is a “paint-frame.” which Is also suspended by guide-ropes. One of these paint-frames is twenty feet high and forty feet long, while the other is twenty-six feet in bight and forty feet In length. These frames are the supporting background for canvas, while it Is being transformed, by the artist’s strokes. Into interior and exterior scenes of greater or less beauty, as the exigencies of the play demand. Bold relief and strong coloring being required for scenic effects, there is considerable difference between the Implements employed by a scene painter and those found in the studio of a landscape or portrait artist. Mr. Ritter and his two assistants, when seen at work, were laying on colors with brushes that resembled those used by house painters. When work on a scene Is first begun, the effect is as though the coloring were being literally daubed on the canvas, but in a short time a realistic picture takes form. The first step In painting a scene of any description is to “lay on” the background. After this is done, the details of the scene are blocked out, to be filled In later.

Works by a “Plot.”

Mr. Ritter receives a “plot” each week of how the completed scene should appear, from Stage Manager Bellows, telling whether the scene is to be an Interior or an exterior, and, If an Interior effect, the locations of the various walls, doors, etc. In the “plot” reproduced, which is the scene shown in act 2 of “The Charity Ball,” a drop curtain at the rear of the stage Is called for, in which, through the windows of the room represented on the stage, the audience can see a street or park In winter— a street, housetops being shown. Having received this “plot,” Mr. Ritter then devises some form of “Interior” or “exterior.” If he Is to paint a room, he must get up appropriate designs to represent wallpaper and celling decorations. Understanding that he is to paint a winter scene for the background. he is left to choose what kind of scene it shall be. For interior settings he finds the sample-books issued by wallpaper manufacturers, for use by their traveling salesmen, very helpful in choosing designs for mural decorations. He also picks up Ideas from his dally observations. For example, he frequently sees an arch over the front of a private house that suggests to him a valuable Idea for a similar piece ml decorative work to be used on the stage.

Liquid paint is not used by scene painters. The coloring employed by them comes In the form of powder, contained In large paper sacks. When used this powder is mixed with “sizing” or glue, which performs the function of holding the color firmly to the canvas, and thus a quickly mixed liquid paint Is obtained.

Mr. Ritter’s Career.

Charles H. Ritter has been in the scene painting business all of his working life. He obtained his first Instruction at Shook & Palmer’s Union-Square Theater In 1871 from Richard Marston, one of the greatest scenic artists of that period. After remaining at the Union Square for nine years. Mr. Ritter went to Hooley, of Chicago. He remained there seven years, when the rapid development of traveling companies made unnecessary the employment of a local scenic artist. Mr. Ritter then opened a studio in the Grand Opera House at Chicago. While thus engaged, he did work for prominent people in the theatrical world, and assisted In the production of many plays. Rice and Dixey engaged him to paint the scenery for their “Adonis.” Robson and Crane had him furnish the settings for “The Two Dromio’s.” Mr. Ritter cherishes a commendatory letter which he received from Stuart Robson, In regard to the scenes painted for this play. Richard Mansfield drew on Mr. Ritter for some of the scenery in “The First Violin.” Perhaps the most recent notable work Mr. Ritter has executed previous to his engagement with the Grand stock company, was the scenery employed by James H. Wallhick In producing “Devil’s Island,” which was seen at English’s Opera House recently” (page 11). 

By 1910, Ritter was living in New York.  The 1910 Census still listed Ritter as an artist in the painting industry, now 65 yrs. old. The report clearly lists him as divorced (“D”), and living with fellow artist James Wilson on West 24^th Street. James Howell Wilson had also worked in Chicago and participated in the planning of the 1885 Scene Painters show.  Their participation was mention by John Moran in his article about the Scene Painter’s Show for “Art Union, a Monthly Magazine of Art” in 1885 (Vol. 2, No. 4,p. 85): “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Masha, C. Better, Chas. Ritter, H. Buhler and John Howell Wilson, whose “Country Road ‘76” is especially fresh, verdurous and bright. It is to be hoped that this is only the forerunner of many like exhibitions and it marks a decided growth in the national art spirit.”

I have yet to find any specifics concerning Ritter’s birth, marriage or death. There were many men named Charles H. Ritter who lived at this time; the majority remained farmers their entire lives.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Albert B. Mason was another Sosman & Landis scenic artist who worked at the studio for approximately eight years, from 1887 to 1895. Mason was added to the studio staff shortly after the main studio was constructed in 1886.

Walking home from the studio on February 9, 1895, Mason was assaulted and robbed. During the attack, Mason’s skull was fractured, and he died shortly thereafter from an arterial hemorrhage. In regard to his location, the Sosman & Landis studio was located at 236 South Clinton Street and Mason lived only a short distance away at 130 West Van Buren street. The area was well known as a rough neighborhood.

At the time of his passing, Mason was working on a drop curtain for the newly constructed Auditorium Theatre in Newark, Ohio.

On February 17, 1895, the “Newark Daily Advocate” published included an article entitled, “The Artist Who Painted the Auditorium’s Drop Curtain, Murdered in Chicago” (“Newark Daily Advocate,” 17 Feb 1895, page 1). 

Here is the article in its entirety:

“The drop curtain for the Memorial auditorium arrived from Chicago yesterday. The delay in sending the curtain was due to an unfortunate occurrence in Chicago a few days ago. Albert B. Mason, one of the best artists in the employ of Sosman & Landis, was engaged in painting the curtain and on his return home from work he was attacked by footpads [nineteenth-century term for robber or thief], receiving injuries from which he died. Another skillful artist was secured, and the curtain finished as soon as possible. Concerning the murder of Mr. Mason a Chicago paper says: Albert B. Mason, scenic artist, lies dead at his home, the result of wounds received in a fight with two thugs who assaulted and tried to rob him. On the way home when crossing the alley between Jefferson and Desplaines streets he was jumped on by thieves and knocked down. The blows and fall dazed him for a moment, but he quickly regained his feet and made for the two men to fight them off. But they followed up their attack, one on either side, hitting him in the face and neck. He was a big, strong man and his assailants were also of large build as well as desperate characters. He made a brave fight, but they were getting the better of him. As quickly as he could Mr. Mason drew his revolver. As shots were heard it is supposed he commenced firing, thinking this would cause the villains to run away. Instead, however, they wrested the weapon from him, and while one held his arms the other pounded him over the head with it until he fell unconscious to the ground; then they took his watch and ran. Two policemen captured them a few moments later. With the assistance of those who came to his rescue, Mr. Mason, stunned and bleeding, managed to get home and send a doctor. It was found that he had been wounded on the top of his head, from the effects of which he died at 1 o’clock yesterday morning. It is said to be a clear case of murder and the murderers are held at Desplaines Street Station. The police know them as O’Brien and Lyons, two of he toughest of the many tough footpads that infest the South Clinton, Desplaines, and Halsted street districts. They were arrested by Patrolmen Hickey and Hoffman, of the Desplaines Station force shortly after their attempt to hold up Mr. Mason. The latter appeared at the station and identified his assailants. Albert A. Mason has been painting theatrical scenery for the firm Sosman & Landis, No. 236 South Clinton street, seven of eight years and was one of their best artists.”

Harry Lyons, alias “Butch” Lyons and Cornelius O’Brien were apprehended after the attack and held without bail. In March of that year the Grand Jury indicted both on a charge of murder. Lyons was given a death sentence, and O’Brien received a sentence of twenty years in prison. Lyons was hanged at the County jail that fall. An article on October 12, 1895, in the “Chicago Tribune,” described all of the grizzly details of the murder, court case, and execution (page 14).

I have located very information about this relatively unknown Sosman & Landis artist.

Mason was born in Michigan in 1858. He was the son of Canadian-born Stephen Mason (1811-?) and Laura Green Mason (1823-1907). His mother’s family hailed from Pennsylvania.  His siblings were Mary D. Mason Harrington (1838-1918), Harry Mason (1838-918), Stephen Mason (1840-1873), Bertha Sarah Mason Homser (1851-1927), George Mason (1853-1944), Harriet Mason (1856-?), James Mason (1861-?), Emma Elenore Mason Fox (1864-1950) and Eunice Mason (1864-1878).

By 1860, 2-yrs.-old Albert Mason was living with his mother and three siblings in Blissfield, Lenawee County, Michigan. The Mason household included Laura (37 yrs. old), Elizabeth (14 yrs. old), Sarah (9 yrs. old), George (7 yrs. old) and Albert (2 yrs. old). All three of Albert’s siblings were born in Ohio, whereas Albert was born in Michigan. His mother was working as a weaver, listing her birthplace as Pennsylvania.

Ten years later, the Mason family was still living in Blissfield. The 1870 US Federal Census did not list Albert’s father as part of the household, only his mother (46 yrs.) and siblings, George (17 yrs.), James (9 yrs.) and Emily (5 yrs.). George and Albert were listed as working in a “stage factory.”.

By the age of twenty-one, Mason was living in Toledo, Ohio. The 1879 City Directory listed him as a painter and boarding with his mother. His brother James Mason was also listed as a painter, living in the same household.  Their mother was also in the directory and listed as the widow of Stephen Mason, residing at “s s Germania 3 e of Heston.” In 1879, Mason married Ellen O’Neil in Monroe, Michigan.  

By 1880, 22-yrs.-old Mason was living with his wife “Ella” in Defiance. The couple lived on Harrison St. with Mason’s younger sister, Emma.  It remains unclear when or why Mason moved to Chicago, but he began working for Sosman & Landis between 1887 and 1888.

His death was reported in “The Evening News” of Defiance, Ohio (page 8): “Albert B. Mason, a respected citizen assaulted by two thugs. He is shot twice in head-Notorious Butch Lyons and Con O’Brien are remanded to jail.

(Chicago Mail, Feb. 13, 1895)

“Albert B. Mason, one of our oldest and most valued employes lies dead at his home at 130 West Van Buren street, form the effects of an assault by two thugs who robbed, beat and shot him last Saturday evening on Van Buren Street, near Jefferson. So wrote Sosman & Landis, whose scene painting studio is 236 and 238 South Clinton street, to the Mail this morning. At the very moment that the letter was being written, Harry Lyons, alias ‘Butch’ Lyons, and John O’Brien, alias Con O’Brien, were being remanded back to jail at the Desplaines street police court without bail to await the action of the coroner’s jury tomorrow morning, when it views the dead body of Albert B. Mason. The latter died at 11 o’clock this morning from the effects of an assault which Butch Lyons and Conb O’Brien are being charged with having made upon the defenseless man.

Happened four days ago.

Mason was held up and robbed Saturday night at 9:30 on Van Buren by Lyons and O’Brien, who stepped out of an alley between Jefferson and Desplaines streets as he was passing and assaulted him.

Mason drew a revolver and Lyons is said to have wrenched it from his hands and fired two shots. One of the bullets grazed his forehead. Mason was also struck on the head with the butt of the pistol. As Lyons and O’Brien started away they ran into officers Hickey and Hoffman, of the Desplaines street station, who had been attracted by the shots. The pair were locked up at the station and Mason was taken home.

Mason appeared in court Monday morning with his head bandaged. He identified Lyons and O’Brien as the robbers. They were placed under bonds in the sum of $4,400. This morning as the men were arraigned again, Capt. Gibbons brought in word that Mason was dead. The wound had not been considered serious until morning when a blood vessel burst in his head, due, it was reported, to the injuries, and the doctor stated that he could not live.

At the coroner’s inquest the jury brought the verdict of willful murder against Lyons and O’Brien and remanded them back to jail without bail awaiting the action of the grand jury.”

Albert’s mother died on March 19, 1907, and was buried in Lambertville Cemetery, Lambertville, Monroe County, Michigan. Sadly, the cemetery records were destroyed in a fire. It is possible that Albert was also buried in Lambertville Cemetery.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

J. C. Blaine is part of the prequel to the history of Sosman & Landis. He worked as a scenic artist and stage carpenter for J. S. Sosman, and was later associated with the firm in the 1890s. I posted new information to my blog on June 4, 2023; the link is below. Here is what I originally wrote in June 2021:

“I first came across Blaine’s name in an article about Sosman in 1875. The two delivered scenery to Semon’s Opera House that year. Afterwards, they painted a billboard featuring local businesses. Their work was published in the “Fairfield Ledger” on October 28, 1875:

“Very Pretty.- We mean that bulletin board painted by Messrs. Sosman & Blain, the artists who painted the scenery for the new Opera House. The bulletin board is about 10×20 feet in size, and contains the cards of a number of enterprising business men. It will be put up on the southeast corner of the Park, and will prove a handsome and attractive advertisement. The work is a credit to Messrs. Sosman & Blain.”

A few weeks later their work was again mentioned in an article entitled “Business Chart.” On November 4, 1875, the “Fairfield Ledger” reported, “The most beautiful and attractive business chart ever seen in Fairfield is the one now on the north side of the P. O. building. In size it is 18×16 feet, and contains the business cards of about twenty of Fairfield’s business men. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blaine, who so handsomely painted the scenery in Semon’s Opera House.”

I want to take a moment to examine Semon’s Opera House, as it is representative of so many stages at that time. The new theater was described in detail on October 7, 1875, in the “Fairfield Ledger” (page 6).  The article reported:

“The stage is 44×20 in size, ample space being given for dressing rooms. There are two entrances to the stage from the audience and one by the outside stairway. It is circular in front, and the footlights, of which there are about 15, give plenty of light. The scenery was painted by Mr. J. S. Sosman of McComb [sic.], Ills., and bears evidence of the work of a master painter, and a man skilled in his profession. It consists of a magnificent drop curtain, representing the Bay of Naples. At the right and in the foreground of the scene is a ruined arch covered with ivy, the whole being surrounded by a beautiful Etruscan border sixteen inches wide. The parlor scene is a representation of gorgeous panel work, and the flat is supplied with practical doors on either side which are beautiful columns with handsome arches extending above the doors and resting upon the pilasters. The street scene presents a brick residence and a garden in the foreground, while in the distance appear business houses, churches, residences, &c. In the wood scene is a heavy wood, with a beautiful lake in the perspective. The kitchen shows us a dilapidated room with rough plastering and a number of holes in the walls which have a natural appearance, and various articles of household use. At the sides of the drop curtains is more panel work, the entire curtain being surmounted with rich crimson and garnet drapery, giving a perfect finish. The drawing is on canvas fastened on the flats which are 10×16, sliding in grooves, and the wings are 4×10 in size. The painting is a great credit to the artist, and all pronounce Mr. Sosman a painter of ability.” I am going to pause here for comment; this is almost identical to what was initially used at the Tabor Opera House in Leadville, Colorado. It is even the exact same size of wings and shutters.

Between 1875 and 1876, Sosman met and partnered with Perry Landis, future co-founder of Sosman & Landis Scene Painting Studio. Both had served in the Union Army and then ventured west during the post-war years, with Sosman settling in Macomb, Illinois, and Landis settling in Fairfield, Iowa. Neither was immediately drawn to the theater, with each testing the waters of another profession. Sosman’s scenic art career did not even commence until 1873. He came to it quite late in his career, when he assisted T. B. Harrison, a Chicago-based scenic artist who was hired to paint scenery for the New Chandler’s Opera House in Macomb, Illinois. At the time, Sosman was twenty-eight years old. The majority of scenic artists began their apprenticeships at the age of sixteen.

Their probable meeting was in Fairfield, Iowa, when Sosman was painting the scenery for Semon’s Opera House, During this time, Landis returned to Fairfield after another extended stay in Denver, Colorado.  On August 19, 1875, the “Fairfield Ledger” announced, “Perry Landis is with us again – and from Colorado” (page 5).   By 1876. Sosman & Landis were traveling together, while making their permanent home in Fairfield.  On June 11, 1876, the “Fairfield Ledger” announced, “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3). The two were remembered by Fairfield residents them long after they moved the Chicago in 1879.

Landis had previously lived in Fairfield before venturing further west to Colorado.  On March 18, 1875, the “Fairfield Ledger” reported, “Perry Landis has been spending a few days with his many friends in Fairfield…Davey Beck leaves for Denver to-day in company with Perry Landis. He goes to remain some time” (page 5). Even after settling in Denver, Landis continued to update his friends and family about the western scenery and opportunities. He submitted articles to the “Fairfield Ledger,” occasionally working as a newspaper correspondent for various cities.

Meanwhile, Sosman worked as an itinerant scenic artist and began making a name for himself throughout the region. Years later, the town remembered their beginnings in Fairfield. On June 20, 1894, the “Fairfield Ledger” recalled the pair living in town, reporting, “Sosman & Landis, the scenic artist, both of whom formerly resided in this city, are the lessees and managers of the Masonic Temple Observatory and Roof Garden, Chicago. This twenty-one-story building is one of the wonders of the metropolis of the west, and its roof affords a view superior to that from any other point in the city. Messrs. Sosman & Landis have added an electric theater, similar to that presented at the World’s Fair, and have ready for reproduction many of the interesting sights of the great exposition. Their place is one of the attractions of the city.”

Their previous residency in Fairfield was again mentioned the following year to when a new theater was being planned in Washington City. On Jan. 2, 1895, the “Fairfield Ledger” reported, “Western capitalists are here to build a large and handsome theater at Washington City. Sosman & Landis of Chicago, both former residents of Fairfield, are among the projectors of the enterprise. These gentlemen are said to have the largest scene painting studio in the world…” (page 3).

In the beginning, Sosman & Landis accepted any project that came their way, crisscrossing the country from one city to another. By 1879, the two had secured enough funding to open a scenic studio in Chicago. They placed advertisements for mail-order scenery in newspapers across the country, while maintaining a permanent studio space. They also assembled crews to work in both Chicago, New York and many other cities.

Like Sosman, J. C. Blaine worked as a decorative painter and a stage carpenter. He traveled from town to town throughout the Midwest, completing a variety of projects. On July 5, 1883, the “Independence-Journal” of Ottawa, Kansas, mentioned Blaine’s ornamental work. The article reported, “Have you noticed the water color decoration in the parlors of the Centennial House? This work was done by J. C. Blaine. Notice it” (page 3). Blaine remained in the area and by 1907 was listed in the Painter and Paperhangers section of the Ottawa City Directory. At the time, his place of business was listed as 1212 E. 7^th.

By the 1890s, Blaine represented the Sosman & Landis studio, working as both a scenic artist and stage carpenter for the firm. On October 9, 1891, the “Salina Weekly News” reported, “Scenery Here. The new scenery for the Salina Opera House is here. It is elegant in design and finish. Mr. J. C. Blaine of the house of Sosman & Landis is also here as stage carpenter and at work. He was given notice while at Sulphur Springs, Arkansas and came on immediately. The work will require one week to finish as the plans for carpenter work in the hanging did not come in time for Contractor Gilbert to complete before the arrival of Mr. Blain. The chairs are elegant and comfortable and are now being lined upon the floor in a large Semi-circle” (page 4).

I have uncovered very little about Blain’s personal history to date, other than that he moved west to California by 1910, where he continued to work as a painter in National City with James C. Blaine.  It remains unclear whether James G. was a brother or son.” —

Here is the updated post about Joseph C. Blaine and his son James G. Blaine:

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman & Blain, 1875

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

I am back from a two-month break after spraining both wrists on May 1, 2021.  I panicked a bit, wondering if it were a career ending injury, so I took taking my sweet time recovering.  Although I would like to think that I truly relaxed and enjoyed the break from constant research and writing, I really went a bit stir crazy. Yes, I still worked on projects, painted small things, traveled and carefully gardened, but my wrists just couldn’t handle the daily strained of typing and maneuvering a mouse. I am doing much better, but I am a returning to blog postings at a much slower pace.

I return to Sosman & Landis Scene Painting Studio staff biographies with employee No. 29 – John P. Toner.

Toner worked as a scenic artist at Sosman & Landis around 1910. The Census that year listed Toner as a Chicago scenic artist. This places him in the right place at the right time. Last month, I even purchased a photograph of the studio building from 1910.  That year, Toner was thirty-two years old and lodging at 2832 Indiana Avenue, just south of the Sosman & Landis studio.  Other information in the 1910 census identified Toner’s birthplace as “Ire-England” in 1878. He emigrated to the US in 1889.

By 1928, Toner was mentioned fellow scenic artist Wat Williams, another former Sosman & Landis employee.  Williams worked at Sosman & Landis between 1909-1916. In 1909, Thomas G. Moses wrote, “Wat Williams came into the studio and worked as my assistant. Pretty good, but very careless.” There is no indication as to when Toner was hired, or how long he worked alongside Williams in the studio. However, their employment at Sosman & Landis was mentioned many years later. Toner, like Williams, moved to New York in the 19-teens, where he continued to work as a scenic artist and became involved in the United Scenic Artists Association.

On March 1, 1928, “The Scenic Artist” published an article entitled “Wat Williams Speaking” (Vol. 1, No. 11, page 1).  The newsletter was described as the “Official organ of the United Scenic Artists Association,” with the publication’s headquarters at 161 West 44th Street, New York City.

Below is Williams mention of Toner when he discussed an upcoming national conference in 1928. Here is the excerpt:

“My Dear Editor:

You are going on to the first coast to coast conference with Bro. Toner: John Toner and I used to work for the well-known Sosman & Landis of the City of Chicago where you will meet.”

Williams’ letter to the Editor continued, “You were telling me the other day of your experience in Chicago (in the day of the wooden sidewalk) and your experience as an impresario for real bottled beer. Beside the Chicago boys you will probably, I hope, have Truman Curtis, the president of the Los Angeles Local, as one of the delegates. Truman was my first art patron, having bought a couple of my studies when we were studying at ‘Smith’s Art Academy.’ Truman got me my first job in a scene painting place (don’t hold it against him) with Walter Burridge, then in Chicago. This goes back about a quarter of a century. At that time the urge to form some organization of the scene painter was dreamed of but that it should extend from coast to coast was not thought of. I should like you to bring attention to the fact preached to us by Walter Burridge that it is not simply a job of scenery; but that the main purpose of the artist in the theatre is a service problem; that of making the stage ensemble a work of art as truly as any picture of designs. The second thought would be to bring to the attention of the conference the desirability of establishing Examining Committees to stop the entry of people who will finally be a drag to the organization and themselves. These two problems are just as alive now as a quarter of a century ago.

Can I tack on a little about due collection? Nels Astner and myself are planning a drive to have our members see the desirability of paying their dues three months or more in advance instead of quarterly in arrears. It will not only lighten the burden of housekeeping but stop the damage that suspension brings to our members. On each month a third of our members are notified that they will be suspended if payment is not made at the end of the month. I believe that they will really see that the advance payment plan is desirable for all concerned.

I would like to make a personal appeal to our members to make their payments direct to the Financial Secretary of mail it, addressed to him. The habit of giving it to anyone else, especially without forwarding book at the same time, may cause everyone connected with it loss of money as well as extra work for those, already busy up to their neck.

We are making no new laws – simply enforcing those now on the books. Laws are not flexible or open to interpretation to suit individual cases – by officers less than anyone. Individual cases needing special construction will be laid before the Executive Board and a member’s chance for serious and just consideration of his appeal will not be depending on his nearness to the local. If you don’t advise us, we do not know your troubles.”

A follow-up article was published in the “The Scenic Artist” that April (No. 12, page 1), and was entitled “The Chicago Conference.” It reported, “The report of the Chicago and New York delegates to the Scenic Artists Conference in Chicago held at Chicago on the last three days of last month has been read to their several members and approved by them.” Toner was a New York delegate at the time.

The article continued, “They recommendations are clear, concise and easy to understand.

It may be hoped that every scenic artist regardless of what special line he follows, will see the advantage of a uniform basis upon which we as a craft may sell our services.

By a commonly accepted definition of the term stock, production and presentation, we shall without causing the slightest flurry, neither in our own of the producer’s ranks, have arrived at a definite way of knowing how to classify what a member is doing. Not what he must do – or must not do; but simply made it possible to really know whether work – of any sort – is being done according to Union rules or not.

Productions must of course be done under rules laid down for a Studio – let the Studio be permanent or temporary – old established or primitive; no one presumes to dictate as to the shape or nature of the building. The rules concerning Studios are as before as regards to charge-man, artist and helpers. Scenery traveling from place to place is of course a production: – or else what is?

Members running Studios shall not contract for Stock in such places as our rules clearly state that an artist shall be employed on contract.

Stock, as far as our craft is concerned, is scenery built and painted for a theatre to which a member is under contract.

The salary of the artist is stipulated with that specific clause being clearly understood.

As before, an artist under stock contract shall – by organization – be required to limit his work to the theatre he is employed in, and shall not engage in outside contracting or production work during the time of such employment.

Presentations may be done by one artist if necessary, provided it is only for one house.

A member may design and contract for as many presentation houses as he can handle provided his work is carried on according to the rules of the association. A rising scale of pay based on equity and economy was agreed on and a field very apt to run wild, and for that matter pretty difficult to control properly, has been defined.

Every angle of the craft was given close attention and where necessary thoroughly discussed. The object of the conference was not to inject a lot of new kinks, but for the explicit purpose of arriving at a uniform wording and interpretation of all rules, by-laws, contracts etc. thereby making the first great step toward a unification of the entire craft. The ambition of single members to rise and soar is fine; but it should have a proper take-off. Too often the member who throws his lot with the side to whom he has to look for monetary returns makes a fatal mistake. Agreed that he has the right to conduct business, even to destroy himself; but he has no right to jeopardize the livelihood of fellow members. It would be better all-around if he should lend all his strength to his organization and help to convince purchasers of our work that the best way is the cheapest after all.

There is no call for individual members of our craft to make frantic efforts to cheapen either our standards or our product. The cheapening of scenic art may be safely left to those who are not members of our craft.

The rules are there. The rules are simple; it only remains with the members to take advantage of them.” 

In 1928, Toner was listed as one of the New York delegates with other noted individuals including: Chas. E. Lessing, NY; Orville Lyman; Chicago, Peter Donegan, Chicago; Herman Bartels, Chicago; and G. VC. Fisher, New York.

Tracking down any information pertaining to Toner has been quite a challenge, despite mt break. The problem is that there are too many John Toner’s who worked as painters, whether they were in the housing or automotive industries. There are just too many likely candidates for me to narrow my focus down to one individual. If I am ever able to refine my search, I will update this post.

It’s good to be back.

I am still on break from daily posts, as my wrists will not allow me any extended periods of typing or surfing the internet. I have posted a few pictures of my most recent adventures to my Facebook Group “Dry Pigment,” but with minimal text. It may be another month before I return to any daily blogging.

That being said, last week I visited the Omaha Scottish Rite (Nebraska, USA) to evaluate their scenery collection. In 1996, the Valley of Omaha purchased the used scenery collection from the Scottish Rite Theatre in Kansas City, Kansas. It replaced their original scenery collection, manufactured by the Sosman & Landis Scene Painting Studio of Chicago between 1914 and 1915.

The current scenery used at the Omaha Scottish Rite was painted by Maj. Don Carlos DuBois (1886-1964), representing the Great Western Stage Equipment Co. Collection of Kansas City, Missouri. Many of the drops are signed and dated by DuBois, c. 1951-1953. It is truly a lovely collection.

Some of DuBois’ original designs for Masonic scenes are part of the Great Western Stage Equipment Co. Collection in the Performing Arts Archives at the University of Minnesota. Over thirty years ago I processed the collection, and in 1999 helped digitize the scenery collections and get them online. Here is the link for the scenery database:

https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

Although I have written extensively about DuBois (born Don Carlos Boyes) in the past, it is important to note that he grew up in Seward, Nebraska. It was not until 1900 that DuBois moved to Chicago and became a scenic artist. It is remarkable that his scenic art is now featured in Omaha, only an hour’s drive from where he grew up.

It may be a while before I post again. Hopefully, I will be back by the end of June or mid-July. Have a wonderful summer!