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. 7th.
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:
To be continued…
