Month: October 2021

Copyright © 2021 by Wendy Waszut-Barrett

William Joseph Smart (1893-1962) was a scenic artist at Sosman & Landis from approximately 1900 to 1921. His highest level of education was 8^th grade, suggesting that he started working as a paint boy when he was 15 or 16 yrs. old.

Born on March 26, 1893, he was the son of Thomas James Smart and Emma Josephine Houlb. Thomas Smart was born in the Czech Republic. Arriving in the United States in 1880, over the years, his birthplace was listed as Austria, Pisek, Bohemia and Czechoslavakia. He was the son of James Smart (French) and Emma Josephine Strobel (Czech), with Czech being the primary language spoken at home.  

Thomas and Emma were married on April 24, 1886. The couple celebrated the birth of five children:  Tillie E. Smart (1889), William J. Smart (1891), Martha Emilie Smart (1891-1895). Blanche Helen Smart (1893-1962) and Arthur Frederic Smart (1901-1970). They would remain an extremely close-knit family over the year; The majority of adult children remaining at home.

The 1910 US Federal Census listed William J. Smart as a scenic artist, living with his parents and four siblings at 3921 W 16^th St. in Chicago. His father Thomas was a machinist in the iron work industry, a position that he would continue for the majority of his career. At the time, sister

Tillie worked as a telephone operator and Martha as “tag marker” for a mail order house.

Like many Sosman & Landis scenic artists between 1910 and 1920, Smart was part of a shared workforce between the Chicago-based firm and their eastern affiliate New York Studios. The New York counterpart was established in 1910 by David Hunt, secretary and treasurer for Sosman & Landis. Hunt, Sosman and Landis had previously established a theatrical management firm in the 1890s known as Sosman, Landis & Hunt. Hunt and New York Studios’ close ties with Sosman & Landis necessitated a regional office in Chicago; this was to manage a shared labor force and resources.  

In the 1970s, former Sosman & Landis scenic artist, John Hanny, recalled Smart working for New York Studios. Hanny also remembered Smart as a fine draftsman, a necessary skill for scenic artists who also designed at the firm.  Hanny, Smart, Art Rider, and William Nutzhorn all joined the Brotherhood of Sign, Scene and Pictorial Painters, Local 830, in 1912. This denotes a shift in Sosman & Landis scene painting staff, and lead to increased tensions with local union leaders.

On May 5, 1914, the “Chicago Tribune” reported, “ARTIST HAS TO JOIN UNION TO PAINT THEATER CURTAIN.”  Under the article headline read, “Edgar Payne Starts Work, but Strike Results, and Compromise Solves the Problem. There is a difference between an artist and a scene painter. This Edgar Payne, of 4 East Ohio street, learned yesterday when he started on a big western picture for the drop curtain of the new American theater at Ashland avenue and Madison street. No sooner had the landscape artist dipped his brush in a jar of blue paint than there was trouble. All the sign, scene, and pictorial painters of local 830 in the building laid down their tools and walked out. W. G. Lathrop, business agent for the union asserted the men would not work so long as a landscape artist remained. Moreover, not one man in the union would hang the curtain after it was decorated with the western mountains from the brush of a nonunion painter – Payne. “I am an artist, I am a landscape painter and mural painter, not a decorator – “ Mr. Payne trained to explain. But he had to join the union or lose the job. He joined the union and went on with the picture.” For context, Payne started as a scenic artist at Sosman & Landis in 1903, so he was not just coming in as an easel artist.

That being said, I am going to take a moment and address a major shift in the theatre manufacturing industry at this time.

By the second decade of the twentieth-century, an internal battle was brewing among scenic artists. The main tension concerned the perception of those who painted scenery for the theatre; were they artists or craftsmen? This was the beginning of a shift that has continued until today. Contemporary scenic artists are handed designs to paint, or sources to interpret. Many nineteenth-century scenic artists designed stage settings and machinery, as well as painting; in short, they were masters of scenic Illusion and intimately understood all aspects of various stage systems. The names and work of these nineteenth-century scenic artists were featured alongside producers and performers, sometimes with equal billing.  Their work was highly-valued and drew crowds to not only theatre productions, but also outdoor amusements and spectacles. This cannot be discounted, as they were “masters” in marketing themselves and their services to the public.

By the turn-of-the-twentieth-century, the names of scenic studios continued to replace those of individual scenic artists, and the perception of scene painting changed for both the general public and theatre professionals.

Not all early twentieth-century scenic artists were willing to throw their lot in with a group who worked as ornamental painters, and decorators.  This was a specific mindset shared among many high-caliber American scenic artists; it had been reinforced for quite some time. In the 1880s and 1890s, Sosman & Landis catalogues took an entire page to discredit the ability of decorative painters in the production of stage scenery. They used the same wording in catalogues from at least 1889-1894:

“Our prices on Scenery invariably come in competition with some so-called “Scenic Studio,” the Local Fresco Artists and Sign Painters. All are emphatic in stating their ability to paint Scenery as good as the best. The utter absurdity of such statements should be apparent at a glance. [Their bold print] We expect competition, but such parties are not worthy competitors, and it is impossible that they should in any degree equal Artistic and Correct Scenery made by us with our Corps of Skilled Artists – many of whom have held positions  as Chief Artists in the Best Theatres of this Country.” 

This nineteenth-century sentiment remained with older artists at the onset of the twentieth century. The older generations of artists who worked at Sosman & Landis in  he twentieth-century were very different from those who began as paint boys during this time.  The younger artists may have been trained in the old ways, but their perception of the work was radically different. They were striking out against the establishment and the old establishments were their scenic art predecessors; those who had outfitted theaters all over the United States during the 1880s and 1890s, delivering the same stage aesthetic that had been used for generations in both North American and Europe, The scenic art period from 1880 to 1900 is what I personally consider the “heyday” of scenic art. My reasoning is their popularity and prosperity at this time remains unparalleled.

The success of Sosman & Landis was based on a stream of highly skilled scenic artists coming in to do what they did best, and then leaving. This cut down on the studio’s overhead, while securing some of the best talent at the time. By 1902, Sosman & Landis had delivered scenery to 6,000 stages in the United States, Canada, Mexico, Jamaica, and South Africa; they knew what they were doing and did it well. It is very possible that the paint boys who came on to the scene at this time did not fully understand the contribution of those who came before them. The same can be said for scenic artists who represented the new school of Modern Design.  From 1880-1910, the Sosman & Landis name was synonymous with “quality;” quality of not only scenic art, but also stage machinery.

The late nineteenth-century and early twentieth-century success of Sosman & Landis was linked to the reputations of their artists and mechanics; those who sporadically appeared for projects and then went on to something else. In 1894, their catalogues stated, “Our Artists are selected with reference their special abilities. Some excel in designing and painting drop curtains, others in landscapes, and other in interior scenes; so, we divide our work that each is given what he can do.”

That all being said, there was still a core crew of painting staff who never worked for other employers or on their own. It is not that they were the “B-Team,” but they decided to stay in one place and at one job. This created an entirely different set of expectations for those “long-haulers” at the firm.

In the early twentieth century, scenic artists, like many other theatrical positions, were becoming increasing specialized; a shift that caused in-fighting among painters themselves. As noted above, Payne started as a scenic artist at Sosman & Landis in 1903. That being said, he was becoming increasing well known for his easel art. In the nineteenth-century, this would have been a feather in his cap among fellow scenic artists. However, by 1914 there was a resentment of those who are well-recognized and respected for their work in multiple fields, working beyond the confines of a scenic studio.  Payne, like many scenic artists at Sosman & Landis, took time off from scene painting to work on other projects, returning to help out when needed. This did not sit well with those full-time employees who stayed behind for years. 

It also happened to Thomas Moses when he returned to Sosman & Landis for the fourth time in 1904. He left a profitable scenic business in New York to become the vice-president and immediate supervisor of all design, construction, painting and installation at the firm. Upon his return in 1904, Moses wrote, “When Mr. Sosman announced to the ‘gang’  that I was coming back and would take charge of all the work, there was much dissention among a few.  Fred Scott tried to start a mutiny and went as far as he could by quitting, hoping the others would follow.  But none did, and he came back and asked for a job.  I put him on for he was a clever painter.”

I personally think that much of this stemmed from jealously. Those who remained at a single studio longed for the freedom to paint whatever and wherever they wanted. Keep in mind that some of the really great artists at Sosman & Landis would suddenly leave to form a brief partnership, yet still return to fanfare and laurels for individual projects; immediately resuming their old position at the studio.  This must have really irritated those who stuck it out through thick and thin at the studio, never really leaving or accepting outside work.

William Smart was a Sosman & Landis scenic artist who stayed around until almost the bitter end, well passed Sosman’s departure from the studio. Smart did not strike out on his own until the early 1920s, when he joined with four other former Sosman & Landis employees to establish Service Studios in Chicago.

Smart’s WWI Draft Registration card from June 5, 1917,  listed that he was still an artist at Sosman & Landis in Chicago, Illinois.  In 1920, the extended Smart family moved from 3921 W 16^th St. in Chicago to the nearby western suburb of Cicero in Cook County (south of where many Sosman & Landis scenic artists lived in Oak Park). Their new home was located at 1846 57^th Ave, Cicero. Thomas was still a machinist, Tillie a telephone clerk, William  a scenic artist, Bartha a “checker”, and Arthur, a bookkeeper. For some reason, his sister Blanche remained at home, likely helping their mother manage the household. My own maternal grandmother was placed in this role. I cannot imagine how difficult it is to watch all of your siblings lead lives of their own each day while you stay home to cook, clean and wash their clothes. You remain trapped in a role; one that you did not choose and are only free when your parents die.

In 1921, the Smarts were listed in the “Cicero City Directory.” Employers were listed, Thomas working for the Crane Mfg. Co., William working for Sosman & Landis Studio, and Tillie working for the Chicago Tel Co. 

By 1923, Martha Smart is also working as a cashier, with Blanche still working at home. This continues until the matriarch of the family passes away in 1925.  Her obituary remembered her as the “ beloved mother of William J., Arthur F, Tillie E., Martha E., Mara, Blanch H. Sister of Mary Schultz, Julia Rizicka and Frank Holub.  Member of Cicero Chapter, OES., No. 741, and Shepherd Shrine No. 42 Ottikar Temple No 318” (“Chicago Tribune,” May 21 1925, page 12).

Life changed a bit for the Smarts by 1930. The census that year lists the Smart’s home residence as 1832 Austin Blvd., Cicero, Cook, Illinois. Thomas’ occupation is listed as a pattern maker in the pipe fitting industry, with Tillie as a manager at the telephone company and William as a scenic artist. Blanche was still at home.  On March 12, 1930, William married Jessie L. “Loraine” Merow in Chicago. Loraine was the daughter Louis Alexander Merow (1880), a theatre performer, and Ida May Merrean. At the time, she was working as a hairdresser, living at 311 Central Ave. in Chicago.

The patriarch of the Smart family passed away on Jan. 2, 1938. Thomas Smart is buried in the Bohemian National Cemetery, Chicago.  At the time of his passing, his occupation was still listed as a pattern maker. Thomas Smart’s online memorial at www.findagrave.com states: “Adventurer, inventor, enjoyed music, good sense of humor, family man. Spoke several languages. Always encouraged education. Raised silkworms, traded around world for butterflies and unusual insects. Donated large cabinet of these trays to high school in Crystal Lake, Il.” Here is the Link: https://www.findagrave.com/memorial/5532295/thomas-james-smart

William only left his home in Cicero after his father passed away. He and his new wife Loraine moved to the East Coast in 1940. The census that year listed 45-yrs.old William living with his 33-yrs.-old wife and his 25-yrs. old brother-in-law (Loraine’s younger brother) Donald M. Merano (25 yrs.). The three were living  at 199 Westside in Hempstead, Nassau County, New York. William was listed as a scenic artist at General Motors, while Donald was a stock boy in a model airplane factory. William and Loraine eventually returned to his old home to briefly lived with his sister Blanche in Cicero, Illinois.

William’s 1942 WWII Draft Registration Card again listed his home as 1832 S. Austin Blvd, Cicero, Illinois, with a second address as 61 Parson St., Detroit, Mich. Interestingly, he listed his sister Blanche as the person who would always know where he lived. Like her brother William, Blanche also got married after their father died. She married Rudolph H. Pidrman, an assembler at the Electrical Manufacturing Co. The couple settled in the Smart family hose at 1832 Austin Blvd, Cicero; Blanche’s old home.

William’s WWII draft, Williams’ employer listed as George Wittbold, with offices at 4623 Woodward, Detroit.  On May 6, 1940, “Automotive News” reported, “Wittbold Sets Up ‘Exhibit’ Business; Built ‘Futurama.” The article continued, “DETROIT. – George Wittbold, who gave up a $300,000-a-year retail flower trade in Chicago last spring to construct the General Motors “Futurama” at the New York World’s Fair, is going into the exhibit business himself. “Exhibit engineering” is the way Wittbold describes in his announcement. His headquarters will be in Detroit. Although he has spent much of his life in his family’s florist business, Wittbold’s interest was captivated by the construction of miniature displays. For years he had been staging the GM motor shows in New York’s Waldorf-Astoria and elsewhere, making them less floral backgrounds than masterworks of dioramic building. When GM asked him to take charge of building the “Highways and Horizons” futurama, which Norman Bel Geddes designed, Wittbold sold his flourishing flowed business to his employees in Chicago and embarked upon one of the most difficult tasks of his life” (page 7).

William died on July 9, 1962, in Los Angeles, California.  His obituary was published on July 12, 1962 in the “Chicago Tribune” (page 31). It simply announced:

“Smart – William J. Smart of California, beloved husband of Loraine; dear brother of Mrs. O. R. Rank, Mrs. Martha E. Mara, Arthur F. Smart, and the late Blanche F. Pedrman [sic.]. Masonic services at Arcana lodge, No. 717, A. F. & A. M., Thursday at 8 p.m. at the George Schubert Chapel – 6617 Cermak road, Berwyn, Funeral Friday, 1 :30 p. m.  Interment Bohemian National. ST 8-1092.”

Loraine passed 25 years later on March 11, 1987. She died in Long Beach, California.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Arthur Rider was a scenic artist at Sosman and Landis’ main studio from approximately 1904 until 1908. After 1910, he became associated with their eastern affiliate, New York Studios.  His theatrical contributions are seldom mentioned, yet his easel art is still making headlines on social media.

Earlier this year the Crocker Art Museum posted Rider’s 1928 painting, “The Bells at Mission San Juan Capistrana,” to their Facebook page.

The Crocker Art Museum post included a brief biography for Rider. The following text was attached to the image:

“Arthur Rider was born in Chicago and received his early training at the Chicago Academy of Fine Arts. While a student, he painted for local opera companies and then continued this line of work in London. Seeking further training, he moved to Paris to study at the Académie Colarossi and at the Académie de la Grande Chaumière.

Having heard a lecture by Spanish artist Joaquín Sorolla in 1911, Rider set off for Spain, where he studied and befriended Sorolla. He was greatly influenced by Sorolla’s approach to color and spent nine summers in Valencia painting with him and portraying the coast and activities of local fishermen.

After Sorolla died in 1923, Rider returned to Chicago and made visits to California. In the late 1920s, he rented a house in Laguna Beach and settled in Los Angeles in 1931. While pursuing easel painting, he also produced scenery for the film studios MGM and Twentieth Century Fox.

In California, Rider sought out subjects that recalled his time in Spain. Although he painted coastal scenes, he also depicted inland landscapes and buildings. He was especially fond of the gardens and architecture of Mission San Juan Capistrano. His depictions of the mission were unlike those produced by the previous generation of California artists, who sought to capture the entire mission in all its detail. Rider sought only the essence of the mission, finding it in fragments of light and color.”

The same snippets of information about Rider are continuously used by art galleries, museums, auction houses and other online platforms.  Like many scenic artists at Sosman & Landis, Rider exhibited his easel art and joined a variety of artistic groups. In Chicago, Rider belonged to the Palette & Chisel Club, as did most of his fellow scenic artists at the time. He was also a member of the Academy of Western Painters, Painters and Sculptors of Los Angeles, the California Art Club, and Laguna Beach Art Association. Rider participated in numerous exhibitions and received many awards, including recognition from Chicago’s Institute of Art, the Chicago Galleries Association, the California State Fair, the Golden Gate International Exhibition, the California Art Club, Circulo des Bellas Arts Spain, just to name a few. His paintings belong to public and private collections all over the world. In 2009,  his “Bringing in the boats, Valencia,” sold at Bonhams, Los Angeles, for $254,000. He is a pretty big deal in the art world.

All of this aside, Rider’s personal and scenic art story is absolutely fascinating. Prior to any association with the West Coast or work for the movie industry, Rider’s life in Chicago was quite a tale.  Here is what I have uncovered to date.

Arthur Grover Rider was born in Chicago on March 21, 1886. He was of Irish-German heritage, with his paternal grandmother emigrating from Ireland and his maternal grandparents emigrating from Germany. Rider’s paternal grandfather and father were both born in New York. His mother was raised in Oshkosh, Wisconsin. George W. Rider (1843-1916) headed west as a young man and settled in Chicago before starting a family of his own. In the Windy City he met Emma Blank (1858-1908) and the two were married on March 25, 1880. In Chicago, George Rider worked his way up from bartender to saloon keeper over the years. The couple celebrated the birth of at least four children, with only three surviving to adulthood. Arthur was the oldest, with his sister Libbie born a year later in 1887. Brother William “Willie” J. arrived the year after that in 1888.  During the late 1880s, the Rider’s briefly moved to Detroit, Michigan, where Willie was born, but returned to Chicago shortly thereafter.

The 1900 US Federal Census listed the family living at 274 Randolph Street, Chicago. At the time, George was working as a bartender and his daughter Libbie as a drug clerk. Arthur and his younger brother Willie were simply listed as “at school,” so they were students somewhere. In 1900 Arthur was only fourteen years old, too young to be accepted as a paint boy at Sosman & Landis; the firm made a practice of only hiring those over 16 yrs. old. That does not mean that he waited for work, however, as there were many other studios hiring much younger children.  

Likely, Rider began working at a scenic studio between 1902 and 1903.  Most young adults entered the paint profession somewhere between the age of 16 and 17, starting out as “paint boys,” or “pot boys,” before actually assisting the older artists with the painting process. We know that Rider was already working at Sosman and Landis in 1906 when John Hanny started as a paint boy. Rider’s skill was remembered by Hanny in a letter to Dr. John Rothgeb on July 14, 1976. Hammy wrote that Rider as a “natural.” Around 1906, Rider was promoted from paint boy to scenic artist assistant. This transition meant that Rider was able to work alongside an older artist at the scenic studio, receiving one-on-one training. This was a crucial step for scenic artists; after proving themselves as good assistants, they received their own palette and achieved the full title of “scenic artist.”  Rider was assigned to William Nutzhorn at Sosman & Landis, a position later filled by Hanny. Hanny became Nutzhorn’s assistant after Rider left Chicago to work for the Philadelphia Opera Company. His work in Philadelphia gives a two-year window, marking Rider’s transition from an assistant to scenic artist. The Philadelphia Opera Company was founded by Oscar Hammerstein in 1908, but disbanded by 1910. For Rider, this provides an approximate departure date from Sosman & Landis in Chicago (1908) and a later return date (1910). 

In regard to the short-life of the Philadelphia Opera Company, on April 29, 1910, “The Citizen” described Hammerstein’s departure from Grand Opera (Honesdale, PA, page 1). The article reported, “By the terms of the sale, which was formerly executed Tuesday evening at 9:42 o’clock in the home of Otto H. Kahn, 8 East Fifty-eighth street, the scenery, properties, costumes and other effects of the Manhattan and Philadelphia Opera companies, with its $400,000 mortgage, and the contracts existing between Oscar Hammerstein and his singers pass to the Metropolitan Opera company. Hammerstein will return to vaudeville.”

This is where everything also circles back to Illinois and Chicago Opera. In later years, some of Hammerstein’s scenery made its way to the Chicago Lyric Opera from New York. The Chicago Lyric Opera collection was eventually donated to the University of Northern Illinois, DeKalb, now known as the Scenery Collection. The Scenery Collection is stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University, DeKalb. This Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are three-dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings. There remains the remote possibility that some of Rider’s scenic art survives in this collection.

After Rider left the Philadelphia Opera Company, he returned to Chicago. The 1910 US Federal Census listed 23 yrs. old Arthur G. Rider’s occupation as “artist” in the “studio” industry. This meant that he was working as a scenic artist at a scenic studio. He was living with his father, sister, and brother at 1802 Ogden Ave. Libbie was now 25-yrs. old and working as a bill clerk in a liquor store. Both Libbie and Arthur financially supported their 21 yrs.-old brother and 68-yrs. old father, both unemployed. His younger brother Willie was epileptic. Two years earlier, their mother, Emma, had passed away at the age of 51. She was buried at Rosehill Cemetery on Nov. 8, 1908, but I have yet to locate any cause of death, gravestone or obituary.

Art Rider remained associated with Sosman & Landis after his return to Chicago. In 1910 he began working for the firm’s newly-established eastern affiliate, New York Studios. That was the same year the new studio was established to handle increasing work in the eastern region of the United States. Sosman & Landis’ treasurer/secretary David Hunt enticed Joseph Sosman into partially funding his new business venture. That year, Moses wrote, “Hunt had started a New York studio in New York City, and he expected us to do a great deal of work, as he had Sosman invest a small amount.” Beginning in the 1890s both Sosman & Landis had increasingly diversified their interests. New York Studios  starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. Hunt and David H. Hunt, with offices located at 325 W 29^th  Street, New York. New York Studios relied upon Sosman & Landis artists, sharing the talents of John H. Young, William F. Hamilton, Victor Higgins, William Smart, Al Dutheridge, and Art Rider. New York Studios also had a regional office located in Chicago, with offices at 1022 Consumers Building.

During the second decade of the twentieth century, Rider began exhibiting more of his easel art. This was very common for many of the scenic artists at Sosman & Landis, almost a rite of passage. In 1911, the Palette and Chisel Club held its fourth annual exhibition of pictures and sculpture at its club house on October 24, 1911. Articles included the names of members, many who were currently or formerly associated with Sosman & Landis, including Art Rider, Thomas G. Moses, and Edgar Payne.

In 1911, Rider attended a lecture by Spanish artist Joaquín Sorolla. Sorolla visited Chicago that spring where he painted the portraits for the prominent citizens and exhibited many other works. On February 19, 1911, the “Chicago Tribune” reported, “It was an unusually large assemblage that gathered at the Art Institute last Tuesday evening to greet the great Spanish Painter Sorolla, and his wife to get a first glimpse of his brilliant canvases. W. M. R. French and Charles Hutchinson were supporting guard for the Spanish celebrities and did most of the introducing. The Sorollas speak no English, and even their French has its limitations, though it suffices for the business part of their present adventure into the wilds of the land of dollars. I am afraid they look upon us, as the majority of foreigners do, as so many instruments for the distribution of American money. Mr. Sorolla expects to better here his New York record; and from his Gotham exhibit last year he took back to Spain $170,000. He and Mms. Sorolla are short and dark, but not especially Spanish in type. His face is eager and alert, his manner businesslike. Mme. Sorolla has a small head and features resembles the traditional North American Indian.” His final exhibition in the City was held at the Art Institute the second week in April, 1911. On April 8, 1911, the “Chicago Examiner” reported “Five Portraits by Sorolla on Show.” The couple returned to New York on April 19, 1911. On April 13, 1911,  the “Chicago Examiner” announces that although Senor and Senora Sorolla had planned to return to New York last Sunday, they were “still tarrying in Chicago, having remained because of the commission just given to Senor Sorolla to paint Mrs. William G. Hibard” (page 7).

Sorolla made an impact on Rider, prompting him to visit Valencia for several summers after that.  During the theatrical season, however, Rider continued to work in both Chicago and New York. The 1915 New York State Census listed Arthur G. Rider as an artist, living at 354 W 23^rd. The next year his father passed away on July, 1, 1916. Rider would continue to live with his sister when he wasn’t traveling.

In 1918 he was still primarily working as a scenic artist in Chicago, His WWI draft registration listed his employer as both the Chicago Grand Opera Co. and the Auditorium Theatre. Rider’s physical description at the time was listed as tall and slender, with grey eyes and light hair.

In the 1920 US Federal Census, Rider was still listed as single and living with his sister Libbie in Chicago. The two were lodging at 200 Hamlin Ave. and rider was still primarily working as a scenic artist, employed in the “theatre industry.” He also spent a great portion of the year residing in Spain from February until September.  

He was listed in the 1921 “Chicago Directory” as an artistic, living at 2944 W Jackson blvd. That year, his easel art began to make headlines in Chicago News. On April 24, 1921, the “Chicago Tribune” reported, “The Palette and Chisel Club is having an interesting exhibit of paintings by Arthur G. Rider, painted for the most part during the months he spent recently in Spain. There are scenes of boats along the beach, of hills and valleys, and charming castles drenched in warm yellow Spanish sunlight – the kind of sunlight that never stretches across the Atlantic.The pictures are well worth the visit” (page 109). He did not remain single long after this. In the fall of 1922, he married Mary Frances McGoorty, the daughter John P. McGoorty and Mary Wiggins McGoorty.

On Oct. 7, 1922, Rider applied for a marriage license to wed Mary. Two weeks later their wedding day made front page headlines.

On Nov 10, 1922, the “Selma Times-Journal” (Selma, Alabama) reported:

“POISON ATTEMPT FOLLOWS MARRIAGE.

Chicago, Nov. 10. – Mrs. Mary Frances Rider, 22, divorced from Maurice Roberts, an artist, was dangerously ill today from poison she took just a few hours after her marriage yesterday at Valpariso, Ind. To Arthur Rider, another Chicago artist. She is the daughter of former Judge John P. McGoorty of the circuit and appellate courts. Mr. Rider returned home from his studio last night to find his bride desperately ill. The judge’s daughter caused a sensation in 1917 by running away to become an actress. She married Roberts in 1920.”  What I find interesting is the timeline; she takes poison after wedding, yet her husband doesn’t find her until after returning from studio. I have to wonder – did he attend the wedding ceremony and then go to work?  It is a little confusing, and this certainly presents a red flag from the get-go.  17 yrs. old runaway becomes actress, marries, divorces, marries, and immediately takes poison. There is something wrong, and there had to be more to the story.

I recalled a comment about Rider made by Art Oberbeck in an interview with Dr. John Rothgeb. Oberbeck said, “Working right alongside of me he wouldn’t even talk …He was so entrenched in what he was doing. And he was a very peculiar man. Nobody seemed to ever like him because he was so individual and so much for himself. But I had several arguments with him over this. But I always admired his work.”

After the tumultuous start to Rider’s first marriage, the couple ventured to Europe. They both applied for passports in 1923, with Rider listing the reason for travel as “study.” He and Mary were planning to visit Spain, England, and France. On April 26, 1923, Rider departed the US, sailing aboard a ship named LaBourdonnais.  His study and work made headlines back home. On Nov. 11, 1923, the “Chicago Tribune” announced, “Arthur G. Rider is holding an exhibition of Spanish landscapes in the galleries of George Petit, 8 Rue de Seze, Paris. Mr. Rider is one of the most active members of the Palette and Chisel Club, and this interesting item concerning his present activities was gently appropriated from that organization’s bulletin” (page 95). The couple returned to Europe again in 1924, but tragedy struck the couple. On Feb. 4, 1924, the “Chicago Tribune” reported, “Marie M’Goorty Takes Poison by Error in Paris.”  The article continued, “Mrs. Marie Rider, daughter of Judge John McGoorty of Chicago, wife of the artist, Arthur G. Rider, is tonight recovering in the American hospital from an overdose of twenty tablets of veronal, taken last night in her hotel in the Latin quarter, by mistake, according to her husband.  “My wife, nervous and suffering from insomnia recently, took veronal to overcome her sleeplessness,” Mr. Rider said. “Last night she swallowed twenty tablets, not realizing the danger, and then became violently ill. I rushed her to the hospital in an auto ambulance. The doctors report that she is out of danger” (page 10). If she had not previously attempted to commit suicide on her wedding day, I would read less into this story.

For medical context, Barbital was introduced by Fisher and Mering in 1903 under the name Veronal. It was the first commercially available barbiturate, used to treat agitation, anxiety, and insomnia. As a sleeping aid, its action was quite rapid and ordinarily produced sleep in ½ hour to an hour. Large doses of Veronal, however, caused depression of the central nervous system, resulting in dizziness, nausea and even vomiting. Although it was marketed as “safe” and “non-addictive,” Veronal overdose and death became increasingly common by the 1920s. My guess is that Mary was addicted to Veronal and repeatedly overdosed on the drug.

Mary Frances McGoorty died in March 1925 and was buried at Mt. Olivet on March 30. She was only 25 yrs. old at the time. Despite the loss of his wife, Rider’s artistic career soared, and he continued to travel. His name appeared in a variety of passenger lists at this time.  For example, On Feb. 2, 1927, he was listed as an arriving passenger in Puerto Barrios, Guatemala. On Nov. 30, 1933, Rider returned home from France. He was still listed as single, but remarried by 1935.

In 1935, Rider was living with his second love Jane B. Rider, still listed as an artist. Jane McChesney Berry (1897-1964) was a divorced, having left her husband Thomas Jesse Bethea Sr. by 1930. By 1937, Jane and Arthur relocated west again, with Rider seeking employment in the motion picture industry. By 1940, the two were still in California with Rider working approximately thirty hours each week painting film sets. Rider’s WWII Draft Registration card from 1942 listed his employer as MGM Studio. His physical description still described a tall slender man, at 5’-10 ½” and 150 lbs. He now had grey hair to frame his blue eyes and light complexion. In 1944 Rider pops up in California Voter registration records; he was living at 1906 Shenandoah, Los Angeles and registered as a Democrat. And then I found the couples California marriage record from 1955. On Dec. 15, 1955 Arthur G. Rider married Jane M. Berry. Life would continue the same for the next two decades, with Rider painting and always making time to travel for his easel art.

Arthur Grover Rider passed away on Jan. 25, 1975 in Los Angeles County, CA and is buried at Forest Lawn Memorial.

In a 1976 interview with Dr. John Rothgeb, Oberbeck explained that he and Rider were friends, but claimed that Rider was a difficult person to be around, due to his intense focus on work.

Oberbeck went onto comment that he considered Rider as one of the best colorists in the scene painting industry, sharing the same approach as Fred Scott. Scott worked at Sosman & Landis in Chicago from approximately 1904 to 1911.  Oberbeck explained that the color theory implemented by both Scott and Rider relied upon an undertone. This meant that every color mixed on the palette for the composition must have the same color in it to unify the composition.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

George Roach was responsible for the paint and glue preparation at Sosman & Landis’ main studio at the turn-of-the-twentieth century.  This is an incredibly important job. The “color man” was the one who started each day, setting the artistic tone for the work. The success and longevity of every painted scene is not only based on paint application, but also paint preparation. Roach never headlined as a one of the studio’s premiere artists, but he may have been the most important individual at the studio during his time there.

Roach’s realm of color was located in the back corner of the Sosman & Landis paint shop, beneath a paint bridge. Bins of color, both dry and wet, were readily accessible at a moment’s notice. The pot of glue was always warm, ready to dilute and distribute for any artist in need.

The logistics of mass-producing distemper scenery during the late-nineteenth century and early-twentieth century is staggering.  It is so much more than opening a few cans of premixed paint, mixing the correct color, and applying to the scene. Hours were spent transforming dry pigment into the perfect pulp, cooking glue, and preparing aniline dyes.

Those in charge of paint preparation had to be well-informed and well-organized; each task was based on an exact science. The color man at a studio also managed a legion of young assistants. These individuals, often referred to as paint boys, or pot boys, delivered a color man’s product. Their primary task was to fill individual pots of color on a designated artist’s palette. In addition to supplying color, they cleaned up after artists and completed a myriad of other unsavory tasks.

Former Sosman & Landis scenic artist, John Hanny described the Sosman & Landis painting process to Dr. John Rothgeb in a series of letters between 1976 and 1983. Hanny was employed at Sosman & Landis from approximately 1906 to 1920. In addition to providing written descriptions, Hanny also sent drawings to Dr. Rothgeb.  In one letter, Hanny wrote, “Diagram of Palette. Approximately 6’-6” x 22” having 13 spaces for 5” old-fashioned deep soup bowls containing colors…these bowls contained dry colors mixed with water and stirred to a thick pulp.”  Hanny also included a separate drawing entitled, “Diagram of Palette,” specifying the placement of Malachite Green, Chrome Green, Van Dyke Brown, Raw Umber, Dutch Pink. Yellow Ochre, Zinc White, Lemon Yellow, Orange Chrome, Turkey Red, Burnt Sienna, Rose Lake and Ultramarine Blue.

In his letter to Rothgeb, Hanny further explained, “Different artists may want to make some changes to fit their needs. I liked the suggested lay-out with yellows in the center, gradating in each direction to the blue areas at each end – like going around the color wheel.”

He then described the duties of paint boys at Sosman & Landis, writing, “When the artist wanted his palette cleaned, he called for a ‘swipe up’ which included having his palette washed with sponges, brushes cleaned, clean hot size, and strait edges wiped clean.”

George Roach was specifically mentioned by Randi Givercer Frank in her MA Thesis “The Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925” (University of Texas at Austin, May 1979). Although her information is uncited, she likely included facts from Dr. Rothgebs’ interviews with both Hanny (c. 1906-1920) and Art Oberbeck (c. 1907-1915).  I am including Frank’s excerpt about Roach in its entirety, as it paints a pretty good picture of his responsibilities at Sosman & Landis during their time there. It is also the only source that directly connects Roach to the Sosman & Landis studio:

“For years the person who prepared the studio each morning for the artists’ arrival was a Scotsman by the name of George Roach. He was called the ‘color ma’” and his job was to take care of the paint. The first thing he would do every morning was prepare fresh size which along with the glue would be kept warm all day. On cold winter nights the pulp colors would freeze, and Roach had to melt the ice from them so they would be in useable liquid form, He would also prepare the priming mixture of glue, whiting, and size. Before the whiting went into the mixture it had to soak in water over night. Roach was in charge of this also.

Roach then took care of the color bench. Distemper, dry pigment mixed with size, was the usual scene painting medium. Roach would grind the colors that were natural origin – ochre, raw sienna, and raw umber. He would burn the latter to make them darker and create the colors burnt sienna and burnt umber. Non earth colors like magenta were made from dye. These he mixed with white or some other base. The dry color was mixed with water into a thick, pulpy consistency, and Roach made sure that each of the five-gallon crocks were full. When the dry color ran low, Roach sent off to New York for more. Occasionally, he prepared dye for vaudeville scenery. Any activity that took place around the color bench was George Roach’s responsibility.”

Here is what I have located about Roach’s life and career to date:

George L. Roach (sometimes spelled “Roche”) was born in Albany, Rensselaer County, New York in June 1849.  He was the son of a shoemaker and one of six children. His parents were Thomas J. and Mary J., both immigrants; his father emigrated from Ireland and his mother emigrated from Canada.  By 1855, the Roach family had moved to the nearby town of Greenbush, also in Rensselaer County, New York.

George’s  siblings were Margaret M. Roach (b. New York, b. 1846), Cornelia Roach Collins (b. Albany, 1847), James Roach (b. Albany, 1848), William H. Roach (b. Albany, b. 1856), and John M. Roach (b. Albany, 1860). At least three of his siblings moved west to Chicago, with brothers James and John entering the painting profession.

By 1870, George’s older sister Cornelia had married (George W. Collins) and moved west to Chicago. George soon followed, and initially lived with the Collins, working with his brother-in-law at a barbed-wire factory.  

In 1880, George was boarding with his sister Cornelia (26 yrs.), brother-in-law George (35 yrs.), and their three children (George Jr., Frank and Alice). The household was located at 150 N. Peoria St., Chicago. The 1880 US Federal Census listed George Collins as an agent for the Barb Wire Co. George’s occupation was listed as “working” in the “barb wire works” industry. George only lived with the Collins for a few years, and by 1882 was living on his own. Boarding at 210 Aberdeen, he was still listed as a wireworker. George remained in this location for quite some time, even after marrying Elizabeth “Lizzie” Magor in 1881. Lizzie was a Canadian emigrate who arrived in the United States in 1870 and the two were married on October 20, 1881.   The couple made their home at 212 ½ Aberdeen in Chicago for several years.

By this time, both of George’s brothers (James and Joh), were actively involved with the Chicago painting scene and living nearby. Meanwhile, George picked up a series of odd jobs that ranged from laborer to driver. The only public record listing George as a painter is from 1900. Likely, his two brothers convinced him to try the painting trade, connecting him with the Sosman & Landis studio sometime in the 1890s.

George and Lizzie celebrated the birth of eight children, yet only one survived to adulthood. Two were stillborn in 1893 and 1894, and their infant daughter, Mamie Roach, died in 1895 at the age of six months. Their fourth child to pass away was Henry; he died at the age of four in 1899. Three of the couple’s four remaining children passed away in 1900. Irene (age 10), Wilber (age 8), and Maria Lousia (age 7) all died before the US Federal Census was taken in 1900.  Such an incredible loss in a very short period of time. Only their 9-yrs.-old daughter Clara survived. Clarice “Clara” Evangeline Roach (b. Sept 13, 1891) was the only child living with George and Lizzie Roach in the 1900 Census. She lived a long life; not passing away until Feb. 12, 1982.

In 1900, the Roaches were living at 532 Homan Avenue in Chicago. The 1900 US Federal Census listed George’s occupation as a “painter.”  It was at this time that he was likely employed by Sosman & Landis. It also correlates with the recollection of Hanny and Oberbeck who both started between 1906 and 1907. By the time they started Roach would have been a mainstay at the studio as “color man.”

Unfortunately, the 1900 census is the last historical record that I have been able to locate for George Roach. Some genealogical records also suggest that George’s death occurred in 1907, the same year that his wife died.  I am skeptical of the date, especially as there is no official death certificate, obituary listing, or gravestone near his wife.

Initially, I was convinced that Lizzie died on September 3, 1907; buried at Mt. Carmel Catholic Cemetery in Hillside, Cook County, Illinois, three days later. The grave of Elizabeth Roach is located in Section O Block 2 Lot 41. Information in the Illinois State Death Index also notes that at the time of her death she was married and living at 1705 N. Sawyer Ave., Chicago’s  27^th ward. Elizabeth shares the same birth year and birth location as Lizzie Roach, suggesting that this really was George’s wife. The absence of George’s grave is also explainable, and my first thought was than he wasn’t a Catholic, and therefore could not be buried next to his wife in a Catholic Cemetery. Another reason for the absence of George’s grave nearby may have been financial. If George and Lizzie died the same year, they left a 16-yrs.-old daughter who was likely unemployed.  Clara may not have been able to pay for a proper burial, grave stone, or obituary notice. By 1910, however, Clara was living by herself and working in a retail dry goods store. She married a few years later, moving to California. On Dec. 10, 1912, the “San Francisco Call” announced Clara’s marriage: “Fagan-Roche – Herbert E. S. Fagan, 25 Oakland, and Clarice E. Roche, 21 Chicago, Ill.”

There was one other record that I encountered that made me question the actual date of both Lizzie and George Roach death in 1907.

On May 31, 1906, the “Chicago Tribune” reported:

“ROACH – The remains of Lizzie Roach will be buried from the vault at Mount Olivet cemetery Thursday, May 31, 1906, at 1:30 p.m., formerly of 6626 Drexel-av” (page 12). Mount Olivet was also a Catholic Cemetery located on the south side of Chicago, established in 1885. There is no listing for any Roach grave that fits the description of Lizzie, George or any of their children at Mount Olivet. This does not mean that all 142,000 people buried at the cemetery are included in the current online database, especially when I think of unmarked or illegible grave stones. Cemetery databases are often incomplete.

I remain uncertain of George Roach’s death in 1907 and dearly wish that Rani Givercer Frank had cited the information about him in her MA thesis. My gut instinct says that Roach did not die in 1907 and continued to work at Sosman & Landis for at least another five years. I would bet that he was at the studio from 1895 until WWI. This would have made an impression on both Hanny and Oberbeck, since they started about the time of Roach’s purported passing.

I will update this post if more information comes to light.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Chauncey D. Baker worked at Sosman & Landis during the 1890s. He was credited as the electrical engineer for the firm’s two electric scenic theaters at the newly-constructed Masonic Temple in Chicago.

On February 10, 1894, an article in “Scientific American,” entitled “A City Under One Roof – The Masonic Temple,” described the new building at the corner of Randolph and State streets.  The article reported, “Of all the buildings of our Western sister Chicago, none is more remarkable than the Masonic Temple, a structure which, in its functions, dimensions and construction, is one of the unique buildings of the world. In spite of its name, it is proudly claimed to be the “highest commercial building in the world.” In it we find exemplified the union of Freemasonry and commerce, a four and one-half-million-dollar building supplying beautiful halls and parlors for Masonic rites, as well as an unequaled collection of business offices.”

Atop of the massive structure was the Masonic Temple Roof Garden. In 1894, Sosman and Landis Scene Painting Studio designed, installed and managed two electric scenic theaters, situated at the roof garden level. The firm was diversifying, investing profits from Columbian Exhibition projects. New business endeavors included the establishment of the American Reflector & Lighting Co. and the theatrical management firm of Sosman, Landis & Hunt. The Masonic Temple roof garden was a culmination of the two; their first management theatre project before branching out and leasing other theaters throughout the region.

Sosman & Landis’s 1894 catalogue includes advertisements for both the Masonic Temple Roof Garden and the American Reflector & Lighting Co.

Embracing electrical potential, Sosman & Landis began to expand the scope of their projects to electrical services and equipment. Already in 1889 company catalogues had offered a wide range of lighting equipment for performance venues, including the Eclipse.

By the 1890s, Sosman & Landis employed a full team of electricians, and leading their team electrical engineer, Chauncey D. Baker. Baker was considered a genius in his field, with four patents already filed.

Baker’s Masonic Temple project, however, was a game-changer for the firm. It highlighted the potential of electrical lights for the stage and scenic possibilities, using a very public, popular and accessible platform. The two electric scenic theaters were designed to accommodate seventy-five patrons each. They both featured a scenic metamorphosis that was aided by electrical lighting equipment. Although the firm only managed the venue for a year, it was a massive undertaking at the time.

When the Columbian Exposition closed, work slowed down at many scenic studios. It was at this time that Sosman & Landis planned an entertainment venue for the Masonic Temple Roof Garden. Sosman was a well-known Scottish Rite Mason and heavily involved with the production of new scenery for fraternal stages in the building. Joseph S. Sosman was a Scottish Rite Mason, and had been involved with the Fraternity in Chicago for years. Sosman & Landis were well known for specializing in of painted settings for fraternal productions and other activities. They even took out advertisements in a variety of Masonic periodicals. Including “The American Mason,” noted as a “Weekly Journal for the Craft.” The publication boasted a 10,000 circulation among Masons. Sosman & Landis placed an advertisement in the Dec. 3, 1892, issue that featured the new Masonic Temple in Chicago.  They advertisement stated, “We make a specialty of Scenery for Illustrating the Different Degrees in Masonry. Nothing adds so much to the impressiveness of degrees as appropriate scenery. Much superior in every way to magic lantern or stereopticons.”

Sosman & Landis decided to replicate two experiences from the Columbian Exposition: “A Day in the Alps” and “Court of Honor.” Articles about the new Masonic Temple noted that “A Day in the Alps” went beyond a mere imitation and included “extended improvements,” with more attention paid to detail.

The electric theaters at the Masonic Temple were located 302 feet up from street level, providing an added incentive the visit the new performance venue. Even the journey to the top floor was an adventure worth taking. On Feb. 10, 1894, an article in “Western Electrician” described the ascent to the rooftop performance venue: “Upon entering the building a visitor’s attention is attracted by a large sign composed of incandescent lamps in the form of a hand pointing upward and the words ‘Electric Scenic Theaters.’ From the tip of the forefinger of the hand a row of lights extends upward the entire height of the building to the garden. This is called a “chaser,” and the lamp globes are of different colors. By means of a switch light passes along the line, changing in hue as it ascends, until it reaches the glass roof of the building.” This switch, as well as with all of the electrical devices for the electric scenic theater was credited to C. D. Baker, the electrical engineer for Sosman & Landis.

Images posted to Chicagology. Here is the link: https://chicagology.com/goldenage/goldenage026/

I am going to include details of Baker’s work for the Masonic Roof Garden stages, as it gives some context for his position at Sosman & Landis during the 1890s.

The first electric scenic theatre replicated “A Day in the Alps” from the Columbian Exposition’s Midway Plaisance. 1893 World Fair guidebooks described the production in detail: “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights.”

Similarly, the Masonic rooftop production also presented a transformative alpine scene. The mountain stream running through the miniature painted setting was actually a motion picture screen, adding increased realism to the running water and activities of the townspeople. Upon the river’s banks were miniature houses, a chapel and mill. A castle was nestled high above in the snow-capped mountains, overlooking the village scene. Down below, villagers crossed a bridge – their projection on the central river screen. The show started with the midnight toll of the bell, and the gloaming of dawn gradually transitioning to a brilliant sunlit scene. Midway through the production, a thunderstorm approached the mountain valley, passing by with loud thunder and vivid flashes of lightning. The calms and the sun sets, with the moon rising high above in the night sky. There is a moment of tranquility as the clock strikes midnight. Lighting effects for the production necessiated focusing lamps, rheostat boxes, switches, reflectors and other devices placed behind the scene.

The second electric scenic theater depicted the “Court of Honor,” presenting a view from the Columbian Exposition’s agricultural building. Like “A Day in the Alps,” the scene transitioned from morning to night, changing the appearance of the neoclassical buildings that surrounded the central lagoon. In front of the administration and electricity buildings, gondolas and electric launches shifted position, underscored with band music in the background. As evening approached, electrical lights outlined the White City, beautifully reflected in the tranquil lagoon. The February 24, 1894, issue of “Western Electrician” described, “Searchlight effects flash from one building to another, and the administration building, with its handsome decorative lighting scheme, shines resplendent under these streams of light.” The article also noted that some of the illumination was achieved using a Packard mogul lamp (300-candle power).

The two electric scenic theaters also incorporated Steele MacKaye’s luxauleator, also known as “a curtain of light.” The luxauleator consisted of a border of incandescent lights around the four sides of the stage opening. An invention credited to MacKaye, newspapers described it as “a peculiar optical illusion” originally created for his Spectatorium. Unfortunately, the construction of this massive scenic electric theater was never completed for the Columbian Exposition and the project was abandoned (see past installment #187: https://drypigment.net2017/08/24/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-187-hardesty-g-maratta-and-the-spectatorium/).

MacKaye’s original patent for his curtain of lights claimed, “In combination with the proscenium opening, a series of lamps bordering the same and provided with backings adapted to throw the space back of the lamps and the opening into complete shade, while flooding the opposite portion of the space with light so as to form in effect a vivid curtain or screen of light that will intercept all sight of persons or things occupying the shaded portion of the space, substantially as described.” On May 26, 1893, “The Wichita Eagle” described how the luxauleator used rows of lamps that were placed in conical shaped reflectors. The newspaper article reported, “The modus operandi was very simple, the mere turning of a switch being all that is necessary; the same movement of the switch that throws the current of electricity into the lamps of the luxauleator, also turns out all the lights upon the stage and the effect produced the same as if one were sitting in a brilliantly lighted room and endeavored to look out into darkness” (page 6). MacKaye’s lighting effects were detailed in an article for the February 24, 1894, issue of “Western Electrician” (Vol. XIV, No. 8). Here is a link to the article in Google Books, as it has some really wonderful images and information: https://www.google.com/books/edition/Western_Electrician/N3Q2AQAAMAAJ?hl=en&gbpv=1&dq=%22luxauleator%22&pg=PA86&printsec=frontcover

This lighting effect was incorporated by Sosman & Landis into the two electric scenic theaters. The firm heavily relied upon the skills of Baker at this time for many of their electrical offerings and projects. Unfortunately, beyond four patents and a couple directory listings, little is known about this electrical engineer. Here is what I have located to date about Baker:

Chauncey D. Baker was born in Vermont on March 26, 1848 in Vermont. One would think that the name “Chauncey” would help refine and limit the search; it did not. There were an unbelievable number of Chauncey Baker’s running around America during the late nineteenth century. The earliest listing that I have for Baker in Chicago is from 1887, but he was already living there in 1886. In 1887 the “Chicago Directory” listed Chauncey D. Baker as an electrician working at 114 Wabash and living at 41 236 State. In 1887, 114 Wabash av. was listed for rent by L. E. Crandall & Co.  On Sept. 18, 1887, the “Chicago Tribune” listed, “TO RENT – VERY LOW, FOR MANUFACTURING or storage, part or whole of lot 100×50; elevator, large windows; centrally located” (page 22). I believe that Baker rented a portion of this space in 1886, when he was working on his Electrical resistance coil patent (No. 368,804. Aug. 23, 1887), governor for incandescent lights on arc circuits patent (No. 371,915. Oct. 25, 1887), and the commutator or electric circuit-breaker patent (No. 375,328. Dec. 27, 1887).

Chauncey D. Baker later partnered with Lewis G. Bronson of Chicago in 1888. They applied for an Electrical Apparatus patent on April 30, 1888 (No. 417,217. Dec. 17, 1889). Here is a brief excerpt from the patent’s description: “Our improvement is primarily designed to be used with relay-instruments – such as used with burglar-alarms and other electrical devices – for the purpose of bringing into operation an independent set of electrical devices when there is material derangement of, or change in the current of, the main circuit. Such derangement or change may occur either as a consequence of the opening of the circuit, or by short-circuiting the main circuit of grounding part of it.”

In 1890, Baker was still listed in the “Chicago Directory” as an electrician, living at 1320 Indiana. By the next year, his title transitioned to “electrical engineer,” living at 1089 W. Monroe in 1891. I have uncovered very little about Chauncey’s life in Chicago during the 1890s beyond his work at Sosman & Landis. However, in 1898 he was still listed as an electrical engineer in the city, now living at 225 S. Morgan.

Multiple family genealogies cite that he was married to Charlotte Wilson (b. 1823-?). This would make her 25 yrs. his senior, so I am a little skeptical. Not that it was unheard of, just unusual. Baker was definitively married, but I have yet to locate any marriage certificate to date.  At the time of death, he was still listed as a married man. I am basing this off of his death record, as I have been unable to locate an obituary that was published in a newspaper.

 Baker died 20 Nov. 1917 in Chicago at the age of 69. He was buried at Mt. Hope. His death certificate reported that he was still working as an electrician at the time of his passing.

For additional context, I want to provide a bit of history about the American Reflector and Lighting Co., as well as the company’s link to both Joseph S. Sosman and Perry Landis. The company was featured in their 1894 catalogue, stating “The American Reflector & Lighting Co. manufacture a full line of improved Lighting fixtures for electricity, gas or oil, specially adapted for the lighting of Theaters, Halls, Assembly Rooms and Churches.”

On March 24,1893, the “Inter Ocean” listed the American Reflector and Lighting Company of Chicago as a newly formed business under the heading “Licensed To Do Business.” The company’s incorporators were listed as Perry Landis, William A. Toles and Robert Latham, Perry’s brother, Charles Landis, as the treasurer. The companies official incorporation date was April 5, 1893. The firm’s  salesroom was located at 271-273 Franklin Street in Chicago. They stocked approximately 150 styles of reflectors for use with electricity, gas and oil. The company advertised that both their indoor and outdoor reflectors “promised that the power of light was fully utilized, as its rays are saved from waste, strengthened and thrown in the desired direction.” Their lighting fixtures used crystal glass lined with pure metallic silver to provide “the best practical reflecting surface.”

The officers of the company, however, were Joseph S. Sosman and the three Landis Brothers – Perry, Joseph and Charles. They simply rotated the positions of president, vice-president, secretary and treasurer. In regard to the original incorporators, one man stands out, William A. Toles. Toles had a history with the reflector business in Chicago, having helped establish and manage the Wheeler Reflector Company of Chicago, along with Willard L. Gillam and George E. Plumb. The Wheeler Reflector Company sold the reflector designs of civil engineer and inventor, William Wheeler (1851-1932). By the way, Wheeler was widely known for his innovative patents that included not only lighting, but also water and sewage systems. In 1880, Wheeler filed a patent for a novel form of lighting and commercialized his invention through the Wheeler Reflector Company of Boston, Massachusetts. The company was extremely profitable and remained an important manufacturer of street lighting until the mid-twentieth century. Interestingly, an ex-employee in Chicago later accused Toles of bribing city officials to select their company when contracting work for streetlights during 1886 (“Inter Ocean,” 4 April 1887, page 1). This accusation contributed to the end of one business and the start of another; Toles established the Western Wheeler Reflector Company.

The Western Wheeler Reflector Company was located at No. 88 Lake Street in Chicago. On April 13, 1888, the “Inter Ocean” listed the company’s incorporators as William A Toles, Willard L. Giliman, and George E. Plume. Same individuals, just slightly different spelling of names in the newspaper announcement. The American Reflector and Lighting Company was Toles third reflector company, and at the time of its establishment, he was still actively involved with the Western Wheeler Reflector.

Baker and other electrical engineers were critical to the success of not only Sosman & Landis, but also the American Reflector & Lighting Co.  It was the combination of their innovations and expertise that put them ahead of competitors. Featuring their electric lighting equipment and the work electrical engineer Baker at the Masonic Temple in 1894 was a fantastic marketing opportunity. Despite the short duration or financial outcome, this project pushed Sosman & Landis to the forefront of electrical effects for the stage by the mid-1890s.  They would continue to offer a variety of stage equipment until the 1920s, when both Sosman & Landis and the American Reflector & Lighting Co. changed hands; each firm entering the second iteration of the company.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Today, Frank H. Atkinson is best known for his sign painting books, available from a variety of distributors. Although recent editions were published in 2018, his life and career remain primarily unknown. It has taken an incredible amount of time to track down information hidden in census reports and city directories. My search has been ongoing for a few decades now.  Years ago, I purchased “Scene Painting and Bulletin Art,” an original copy from 1916. Though the book was stained and paint-smattered, I instantly fell in love with my new acquisition before I ever turned a page.  The primary purpose of my purchase was to get a better view of one particular image: Victor Higgins posed in front of a drop curtain at the Sosman & Landis main studio.

Although Atkinson’s association with the Chicago-based firm was obvious, there was no concrete evidence to link Atkinson with Sosman & Landis. I finally made the connection while researching the story of Frank M. Lewis. Lewis was fondly recalled by retired scenic artist John Hanny in a series of interviews with Dr, John Rothgeb from 1976 to 1983.  In a letter, dated July 14, 1976, Hanny wrote, “[Sosman & Landis] was a wonderful place to work – especially for young and hopeful painters where they could get fine training and experience working with such men as Thomas G. Moses. David Strong, Fred Evans, Frank Lewis, Fred Scott, and William Nutzhorn and others.”

Lewis entered the scenic art scene in Chicago in 1890. At the age of 25 yrs. old, Lewis was listed in the 1890 Chicago Directory as a scenic artist, living at 104 Newberry av. The next year, Atkinson and Lewis briefly partnered to establish their own studio at 382 W. Madison. At the time, the two men were also living together, boarding at 432 Randolph. Their primary focus was advertising curtains for theaters, billboards and painted signage. Perfect timing to establish a business like this, especially considering the 1893 Columbian Exposition. Lewis & Atkinson scenic studio soon morphed into F. M. Lewis & Co. advertising firm.

A decade later, they were still working and living together. Lewis and Atkinson were more than colleagues; they were family. Lewis was Atkinson’s brother-in-law. In fact, in 1900 Atkinson was living with four of his wife’s brothers.

Here is what I have pieced together in regard to Atkinson’s life and career:

Franklin H. Atkinson was born in Illinois, on Oct 22 1871 – yet other records suggest 1865. Although some will cite his birth city as Chicago, I am a little suspicious. Yes, there were quite a few well-known Atkinson scenic artists working in Chicago during the nineteenth-century. Unless “Frank H.” was an alias, he is not connected to any of the families; and I have dug deep.  His close friendship and familial ties to the Lewis family suggest a more modest start, such as a smaller farming community in Whiteside County, Illinois. Maybe Garden Plain or Newton, where dozens of Lewis and Atkinson families thrived in the late nineteenth century. Interestingly, the first employee and final president of Sosman & Landis, Thomas G. Moses, was also from Whiteside County, Illinois. Moses grew up on a farm near the town of Sterling.

Atkinson married Lula L. Lewis in Whiteside County, Illinois, USA, on June 20, 1895. This was four years after living with her brother in Chicago and establishing the partnership of Lewis & Atkinson. In 1896, Atkinson was again listed in the Chicago Directory as a painter, living at 121 Lafflin with his new bride. Lewis was also working in the Chicago, listed in the directory as an artist and living at 700 W. 13^th.

The 1897 and 1898 Chicago Directories listed Frank H. Atkinson as a painter, residing at 292 S. Paulina with his brother-in-law Melvin D. Lewis, who was also a painter. 1897, Frank M. Lewis was listed as a painter too, living at 44 Vernon Park Place, with another brother. Charles Lydon Lewis soon followed and was also listed as a painter and living at 223 Mecca flats. It was quickly becoming the family business.

By 1900, Atkinson was again living with Frank Lewis; Atkinson was listed as a painter and Lewis as the president of F. M. Lewis ad sign company 55 W. Jackson Boulevard. In 1901, the Atkinson household was located at 303 S. Winchester Ave. The household included: Frank Atkinson (Designer, b. Oct 1871), Lula L. Atkinson (b. Oct 1867), Frank M. Lewis (Advertiser, b. Jan 1865), M. D. Lewis (Melvin Dell Lewis, traveling man, b. July 1871), Charles L. Lewis (Traveling man, b. May 1878) and Fred S. Lewis (Student, b. Oct 1880.).  Despite their listing in the census that year, all of the men were scenic artists, working as painters in a variety of industries. In 1900, however, they were all working together on a common endeavor, F. M. Lewis & Co. Advertising Signs.

When the fledgling company failed to make it, they all went back to freelance work. It is also very likely that each man worked in the Sosman & Landis studio at this time.

In 1901 Frank was still listed at the president of F. M. Lewis ad sign company, but the business offices changed from 55 W. Jackson Blvd. to 42, 92 LaSalle. By 1902, F. M. Lewis is listed in the “Chicago Directory” as “sign painter,” now living at “42 Merchants’ B.  M. 22498.” This is when Frank Lewis began to work full-time at Sosman & Landis, where he remained until 1912.

Between 1909 and 1916, Atkinson not only worked as a sign painter at a variety of companies, but also wrote three educational books on scenic art and sign painting. They were: “Sign painting Up to Now” (1909), “A Show at Sho’ Cards; Comprehensive, Complete, Concise,” (co-authored with G. W. Atkinson, 1912), and “Scene Painting and Bulletin Art” (1916). Although I would like to think that he took the necessary time off from painting to write, it was unlikely; he was the sole provider for a growing family.

In all of his publications, “Atkinson” is prominently featured on the cover and title page. After all, he was the author. Unfortunately, he did not own the intellectual property; his works were copyrighted and published by Frederick J. Drake & Co. of Chicago. This publishing firm specialized in self-education books, buying the manuscripts from individuals and securing all copyrights to the writings.

In 1909 Atkinson wrote: “Sign painting up to now: a complete manual of the art of sign painting, contains ninety-six designs or layouts and accompanying color notes, seventy-five alphabets embracing all standard styles, their modifications and alternates, comprehensive text covering all practical phases of the art, for every day reference in the shop”  This work included a collection of model alphabets, sample layouts, and numerous examples of sign painting projects across the country.” 

In 1912 he co-authored “A Show at” Sho’ cards; Comprehensive, Complete, Concise” with G. W. Atkinson. At this time, I remain unsure of the relation between the two.

In 1916 Atkinson wrote, “Scene Painting and Bulletin Art,” copyrighted and published by Frederick J. Drake & Co. of Chicago, publishers of Self-education Books.

In addition to working and writing, the Atkinson family moved from Chicago to Des Moines. Sign design and painting remained his focus when he relocated to Iowa. The 1910 US Federal Census records that Atkinson was living in Chicago with his wife Luna [Lula] L. and their 2-yrs.-old daughter, Virginia Frances. The Atkinson home was listed as 610 452^nd Ave, Chicago, with Atkinson’s occupation noted as “Artist in Signs.” Three years later, the family was living in Des Moines. In 1913 he was working as a designer for the outdoor advertising and sign company, Stoner-McCray System, 1244 29^th Street. Atkinson continued to work for the firm until 1915. The 1915 census provides a little more personal information for Atkinson reporting Atkinson’s 1914 earnings as $1500 [$1500 in 1914 is the equivalent of $41,000 in 2021]. The 1915 census also lists that Atkinson attended school until the 10^th grade, that his parents were both born in New York State, and he was a Presbyterian.

Between 1916 and 1918, he wrote another a book and opened his own sign company in Des Moines. The 1918 Des Moines City Directory listed Atkins-Sno Co. as a partnership between Frank H. Atkinson and David A. Snow. The Atkin-Sno Studio specialized in “Electric Spectacular Signs” and “Outdoor Painted Displays.” The firm was located at 413, 12^th in Des Moines, and then relocated to 518-20 E. Walnut St.

David A. Snow was a sign painter who emigrated from England in 1900. Born in Leeds, Yorkshire, England, on January 17, 1889, Snow’s parents were actually from Austria and Hungary (Solomon Snow and Mary Rothman). Snow arrived in the United States during the fall of 1900, settling in New York and working as a sign painter. He married Regina Kuhn on June 16, 1915 and the couple celebrated the births of three children. It was before the birth of his first child that Snow petitioned for US Citizenship in 1915. It was not granted until 1918. During his wait Robert Herman Snow was born in New York on June 10, 1916 and Katherine Snow was born in Des Moines, Iowa, on Sept 26, 1918.  It was during the citizenship process when Snow moved from the Bronx in New York City to Des Moines, Iowa. His Midwestern home was located at 1529 N 16^th St. His third child, Judith Leona Snow, arrived on April 22, 1921 in Des Moines.

As Snow overcame the obstacles toward citizenship, Atkinson experienced a series of familial life changes. Atkinson’s  father-in-law, William Lewis, passed away in 1918. Frank’s wife Lula was named Executrix for the estate. Here is a small excerpt from the probate records mentioning Luna:  “I call attention to the fact that I have also made a Warrantee Deed on the 14^th day of October, 1918 to my daughter Luna L. Atkinson, of my home real estate located in the upper part of the Village of Albany, County of Whiteside and State of Illinois….I do nominate and appoint my daughter Luna L. Atkinson to be Executrix of this my last will and testament, nor shall she be required to give bond, but I would say here that she is the beneficiary named in my Modern Woodman Life Ins. Policy that it is my desire that she divided this insurance amount received by her, equally with my heirs-at-law, she sharing equal in same.” This is the last mention that I have located for Lula, sometimes misspelled as Luna.  It is possible that this event contributed to a separation. Frank began to spend an increasing amount of time on the road, returning to Chicago quite frequently. He even registered for the WWI draft in Chicago during 1918 at Local Board N. 86, 1513 Hyde Park Blvd. By the way, the WWI draft registration described Atkinson’s appearance as 5’-7” and slender, with grey eyes and brown hair. Interestingly, Snow also registered for the WWI draft in Chicago.

Snow and Atkinson’s business thrived for a few years between 1918 and 1920. On July 6, 1919, “The Des Moines Register” reported, “HUGE SIGN FOR THEATER. Des Moines Moving Picture House Said to Be Largest. The huge sign on the Des Moines Theatre, built by the Atkin-Sno company, 413 Twelfth Street, is said to be the largest in the state. The sign is 60 feet long and 12 feet wide and holds 2,000 electric lights. Around the border of the sign is an electrical design in the form of a serpent that runs constantly about the lettering. This sign will be on the center around which the other lighting of the theater is grouped.”

The Atkin-Snow enterprise expanded their operations and continued to increase their staff over the course of two years. On Feb 7, 1920 the “Des Moines Register” included the following advertisement: “Salesmen wanted on straight commission. Apply Atkin-Sno Co., 518-20 East Walnut.” 

In 1920, Snow was president of the firm, with Atkinson vice-president. Hymon Levich was listed as the secretary-treasurer, with offices at 518 E. Walnut.  It all collapsed by 1922 when the government cited them for failing to file corporate reports, By 1922 their business ends. Although Atkinson-Sno Studio was still listed in the Des Moines Directory that year, David Snow’s interests turned to other occupations. In 1922, Snow was listed in the Des Moines City Directory as a “real estate Insurance and Auctioneer,” with offices at 226 Flynn Bldg. By 1924 David Snow is listed as a lawyer in Des Moines. Meanwhile, Atkinson continued to be listed as a painter, now working at Oliver Work Co. in Des Moines. It appears that his wife and children are no longer in the picture.

This is where Atkinson’s own life gets a little murky, and his first family fades from the scene. By 1924, Atkinson remarries; I really have no idea what happened to his first wife Lula. She may have died, filed for divorce, or remarried; it remains a mystery at this time.

Frank H. Atkinson moves to Waterloo, Iowa, and the city directory listed his occupation as a designer for the Fowler Sign Service. He is also living with another woman named Belle, presumably his wife. His respite in Waterloo was very short-lived, and soon Belle existed the picture too.

Atkinson returned to Chicago by the fall of 1924, where he became associated with the Superior Sign School on 2139 Wabash Ave. His name appeared in numerous advertisements for the studio. There is an interesting marketing strategy too; the school places a series of “Want Ads” in the “Chicago Tribune” from 1923-1930. The marketing scheme is quite clever, and, my guess, more affordable than traditional advertisements. Atkinson is credited as the “famous expert” for Superior Sign School in 1924. The institution is also advertised as “the world’s largest school” with  W. A. Hicks was the manager. Here are a few of the Want ads:

For the week of September 20, 1924, the “Chicago Tribune” published the following Superior Sign School Want Ad:

“SIGN PAINTERS!

Frank H. Atkinson, famous expert has joined world’s largest school and announces LIFE CLASS starting Sept. 20. Learn sign, scene, and pictorial under world famous staff. Qualify quickly to  EARN $75 PER WEEK in this fascinating work. We also teach paperhanging, painting, decorating, marbling, graining, show card writing. Enroll now at low rates.  Write, phone or call SUPERIO SIGN SCHOOL, 2139 S. Wabash-av. Phone Calumet 4413” (page 103). 

Throughout the remainder of September and all of October, Superior Sign School Want Ads carry a similar theme. Another Want Ad asked:

“WANT BIG PAY?

Frank H. Atkinson, FAMOUS EXPERT will personally train you quickly in WORLD’S LARGEST SCHOOL, under actual working conditions to EARN $75 PER WEEK and up, in SIGN, SCENE, BULLETIN and POSTER ART. We teach DECORATING, PAINTING, PAPERHANGING, GRAINING, MARBLING. Earn while learning. No exp. Needed. Low terms. Open every day and evening, also Sundays. Write, phone or call SUPERIO SIGN SCHOOL, 2139 S. Wabash-av. Phone Calumet 4413” (page 34). 

From Sept. 28 until Oct. 8, 1924, the Want Ad suggested:

“GET OUT OF THE RUT.

Frank H. Atkinson, FAMOUS EXPERT will personally train you quickly in WORLD’S LARGEST SCHOOL, under actual working conditions to EARN $75 PER WEEK and up, in SIGN, SCENE, BULLETIN and POSTER ART. We teach DECORATING, PAINTING, PAPERHANGING, GRAINING, MARBLING. Earn while learning. No exp. Needed. Low terms. Open every day and evening, also Sundays. Write, phone or call SUPERIOR SIGN SCHOOL, 2139 S. Wabash-av. Phone Calumet 4413” (page 29).

On November 23, 1924, the Want A’s toned down their approach:

“Sign and Pictorial paperhanging, Painting, Calcimining, Decorating, Marbling, Graining, Scenic painting, show card writing. Life class Monday, Wednesday and Friday evenings. We assist you with employment while learning. FRANK H. ATKINSON. Internationally recognized as a leader in sign craft, gives Individual Instruction. There is no time limit on any course. THE SUPERIOR SIGN SCHOOL. 2139 S. Wabash-av. Calumet 4413 (page 93).”

In 1925 Atkinson disappeared for a bit and resurfaced as an art instructor at the Cincinnati University Art School by the late 1920s. I was unaware of Atkinson’s time spent in Ohio until one of his former student’s was featured in 1937. Kenneth Watkins received a write-up in a local Jackson, Mississippi newspaper on March 28, 1937 (page 16). The “Clarion -Ledger” reported that A. Kenneth Watkins, former resident of Jackson, joined Dixie Advertisers, Inc., an art director. The article continued, “For the past four years, Mr. Watkins operated his own art studio in Cincinnati, handling national advertising layout and illustrations for Kaeser & Blair, Inc., and the Davis Tailoring company of that city. Mr. Watkins graduated from Jackson Central High School, class of ’28, and attended the Cincinnati University Art School. He studied under Frank H. Atkinson, our well-known author and mural artist. Several years ago, Mr. Watkins handled the artwork for the Paramount Publix Theatres Corporation’s poster display work for Jackson theatres. He has recently won several awards for posters and pastel painting.”

So, sometime between 1929 and 1930, Atkinson moved from Cincinnati, Ohio, to Jackson, Mississippi. He would spend the remainder of his life in the south. Somewhere between Cincinnati and Jackson, Atkinson remarried for the third time: I think.

The 1930 US Federal Census lists Atkinson living with May and her daughter in Jackson, Mississippi. He is working as an artist and living 666 N. Jefferson Street with his wife May Isabelle Atkinson was from Ohio. It is possible that May Isabelle was wife #2, Belle; I just don’t have proof yet.

Atkinson completed quite a few painting projects during the 27 yrs. he spent in Jackson. On Nov. 10, 1934, the “Clarion-Ledger” reported, “Piercing Eyes Watch Actions of State Senators. When state solons convene at their next legislative session, they will be under the piercing eyes of Red Man Created By Pale-Face, an Indian of Chickasaw or Choctaw origin. From his position in the dome of the Senate Chamber, aided in his vigil by six twin brothers, he will be able to see every action made by the solons below. The red man is not yet in his place, but will be within the next few days, according to. Frank Atkinson, his creator. Mr. Atkinson expects to have his protégé completed very soon. The chief is a part of the decorative scheme of the new capitol building, which is being renovated under the direction of A. Hays Town, local architect, and supervision of A. C. Daniels, Jackson painter. Six likenesses of the red man’s face will be placed on the underside of the dome of the senate chamber, surrounded by decorative scrolls and volutes. Frank Atkinson, painter of the figures in the capitol chambers, is well known here, being the artist who painted Governor Mike Conner upon his election several years ago, and painter of several portraits of Jackson and state notables” (page 10).  This was part of a civil works project from 1933-1934. Atkinson’s “Indian faces” are still mentioned in the online virtual tour. Here is the link: (http://www.legislature.ms.gov/about-the-capitol/virtual-tour/).

On May 14, 1937, the “Clarion-Ledger” also described Atkinson’s mural work for the Nickel Store in Jackson, Mississippi. The article noted, “Impressed is the food shopper upon viewing the store with modern market taking in the entire rear of the store and extending from wall to wall. In addition to attractive Friedrich fixtures as artist has given his conception of the cross-country trip by covered wagon of Ed Friedrich on his way to Texas many years ago. This picture, an oil painting is the work of Frank H. Atkinson, nationally known artist. Mr. Atkinson came to Jackson especially to paint the picture which gives a touch of distinctiveness and takes in the entire wall of the rear of the store” (page 5). In Jackson he primarily focused on commercial art, decorative painting, and fine art commissions.

In 1939, Atkinson exhibited an oil painting of the hanging gardens of Babylon at the Buena Vista hotel in Biloxi, Mississippi. It was part of an event that featured garden clubs and proposed erection of the Garden of Gardens in Mississippi. Lecture by D. R. Smith, president of the Garden of Gardens, Natchez (Sun Herald, Biloxi, 3 July 1939, page 5).

The 1940 US Federal Census listed Frank H. Atkinson (69 yrs.) as an artist in the commercial painting industry, still working 48 hrs./week, “on account.”  It also showed his highest level of education was four years of high school, more than the previous record of 10^th grade. He was still living with May (also Mae), who was now 52 years old and working as an operator in the restaurant industry.  I located a little more information about his final wife: Mae Isabelle (also Isabell and Isabel) Sharpe was born in Ohio about 1887, the daughter of D. W. Sharpe and Mary Sinclair. At the age of sixteen-years-old she married Charles Brewer on Jan 28, 1903. I have no idea when or why her first marriage ended.

By 1945, Atkinson briefly returned to work as a sign painter at Dallas Perkins Sign Co. He continued to work until the ends of his days. A decade later. Mae predeceased him, but by only a year.

On Nov 16, 1955 the “Clarion-Ledger (Jackson, Mississippi), page 4: “Mrs. Mae Atkinson, 68, who resided at 2545 Livingston Road, died Tuesday afternoon at University Hospital after a brief illness. She had been a resident of Jackson for 26 years and was a member of the Capitol Street Methodist Church. She is survived by her husband, Frank H. Atkinson, Jackson, three daughters, Mrs. Frank Grimes, Spokane, Washington, Mrs. Virginia Bailey, New York, Mrs. Charles Kallmer, Osceola, Ind.; one sister, Mrs. Mary Britt, Seattle, Wash: six grandchildren and one great grandchild. Funeral arrangements are incomplete. Baldwin will have charge.”

On Nov. 22, 1955, Atkinson published an announcement in the “Clarion-Ledger,” writing, “Card of Thanks. ATKINSON-Frank H. Atkinson and family express their gratitude to everyone for their kindness, sympathy and flowers received during their recent bereavement.”

Frank passed the next summer. On July 14, 1956, the “Clarion-Ledger” published his obituary (page 5). Here it is his obituary in its entirety:

“F. H. Atkinson Dies; Rites Due Saturday. Was Artist Who Painted Capitol.

Frank H. Atkinson, 84, died at 7:15 p.m. Thursday at the University Hospital following a lengthy illness. He was a resident of 2545 Livingston Road and had lived in Jackson for the last 27 years. Mr. Atkinson was a native of Chicago and at a time of his death was a retired artist. He was the artist who was engaged to paint the pictures seen inside the dome of the new Capitol Building. He was a lifetime member of the Metropolitan Museum of Artists; member of the Masonic Lodge No. 100, and the Methodist Church. Mr. Atkinson had authored four books on art, all of which had been published during his lifetime. Final rites will be held Saturday at 2 p.m. from the Baldwin Funeral Chapel with Rev. John H. Morrow of the Galloway Memorial Methodist Church officiating. Interment will follow in Lakewood Memorial Park. Masonic rites will be conducted at the graveside. Survivors include three daughters, Mrs. Esther Grimes, Spokane, Wash., Mrs. Marjorie Kallmayer, Osceola, Ind/., and Mrs. T. P. Bailey of New Rochelle, N. Y., and one grandson, Daniel W. Brewer, Jr., U. S. Marine Corps. Pallbearers will be Charles Dennery, M. J. Morehead, Denny Click, Al Hughes and C. M. Mimms. Baldwin Funeral Home is in charge.”

Hopefully those who own an Atkinson book will now have a greater understanding of the author.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Frank Lewis was an advertising man who specialized in ad drops and billboards. He sporadically worked as scenic artist at Sosman and Landis Scene Painting Studio between 1905 and 1915

Frank Marshall Lewis was born on January 15, 1865, in Indiana, Pennsylvania. He was one of ten children born to William Robert Lewis (1836-1920) Amanda Shields (1844-1908). The growing family moved west, and by 1870 was living in Whiteside County, Illinois. Between the ages of 4 and 14, Frank grew up on a farm near Garden Plain, Whiteside County, Illinois. He and many of his siblings left the farm and headed to Chicago.

By the age of 25 yrs. old, Lewis was listed in the 1890 Chicago Directory as a scenic artist, living at 104 Newberry av. He focused on the creation of advertising curtains for theaters, billboards and painted signage. Five years later, he opened his own advertising firm F. M. Lewis & Co. On March 31, 1896, the “Chicago Tribune” reported “Flames Cause Big Loss” when the Walker Building, Nos. 338-344 on Wabash Avenue near the Auditorium, was destroyed by fire (page 5). Business losses included F. M. Lewis & Co., advertisers with “loss, $1,000; insurance, $1,500.” 

The business immediately bounced back, and was soon incorporated. “F. M. Lewis & Co. even established a regional branch in New York. By 1895 F. M. Lewis & Co., with offices in the Temple Building, Albany, NY, was advertised in the “Mural Signs and Painted Bulletins” section of the July issue for “Billboard Advertising.”

By 1900 Lewis was living at this brother-in-law’s home, with three of his younger brothers. His younger sister Lula had married another scenic artist from Whiteside county – Frank H. Atkinson. Atkinson later made a name for himself as an author of Sign Painting and Scenic Art instructional publications. In 1900, however, he was living with his wife, Lula Lewis Atkinson and four of the Lewis brothers at 303 Winchester Avenue in Chicago. Atkinson’s household included: Frank (Designer, b. Oct 1871), Lula (b. Oct 1867), Frank M. Lewis (Advertiser, b. Jan 1865), M. D. Lewis (Traveling man, b. July 1871), Chas. L. Lewis (Traveling man, b. May 1878) and Fred S. Lewis (Student, b. Oct 1880.).  I will explore the life and career of Atkinson tomorrow, as he also worked at Sosman & Landis during the early twentieth-century.

In 1904, Frank M. Lewis married Miss Roy Price, on Nov. 22, 1904, in Davenport, Illinois. Marriage records list Lewis’ occupation as an Advertising Contractor in St. Louis, Missouri. They were married by J. B. Donaldson, Pastor, witnessed by Martha Like and Flora Fairman. “The Daily Times” of Davenport, Iowa (Nov. 23, 1904, page 6) reported “Chicago Young Couple Wedded in Davenport. At the home of the bride’s sister, Mrs. Fred Fairman. 550 Esplanade avenue, Davenport at half after four o’clock yesterday afternoon occurred the marriage of Miss Roy Price of Chicago to Mr. Frank Marshall Lewis, also of Chicago. Rev. J. B. Donaldson of the First Presbyterian church of Davenport, officiated. It was a quiet wedding, the bridal couple being unattended, only a small company of the relatives being present. The house was beautifully decorated for the occasion with a profusion of cut flowers and greenery. An elegant wedding dinner followed the ceremony. The bride is a charming young woman who during her frequent visits in this city at the Fairman home and also her sister Mrs. M. S. Like, has been complimented by many friendships. The groom is a prominent advertising man of Chicago. The young couple departed last weekend for St. Louis from where they will embark in the private yacht of the groom for the river trip to New Orleans, where the honeymoon will be spent.”

Lewis continued work as a scenic artist in the advertising field, specializing in ad drops and painted billboards. In 1915, F. M. Lewis & Co. became associated with “Studies in Marble,” a very interesting vaudeville act that toured the Orpheum Circuit. On October 13, 1915, the “Lincoln Journal Star”  reported, “F. M. Lewis & Co. will present as one of the features of this week’s Orpheum bill ‘Studies in Marble Art,’ magnificent reproductions of the works of famous European and American masters, including such striking subjects as ‘The Charge,’ ‘Peter Pan,’ and ‘Roman Warriors.’ The audience will be treated to a unique and brilliant spectacle combining novel and beautiful water and lighting effects” (page 3).  On October 18, 1915. A brief review of the production appeared in the “Kansas City Globe.” It simply reported, “F. M. Lewis and company presented studies in marble art. Poses were difficult, but artistic, and gave a very pleasing effect” (page 2). The show seems to have only toured for a year.

By 1920, Frank M. and Roy were living at 113^th St. in Chicago. Lewis briefly left the advertising industry, listing his occupation as “automobile accessory.” The couple was living with Roy’s niece Helen Fairman. Sometime between the 1920 and 1944 Frank remarries Hester “Hettie” Elizabeth Slaymaker (1877-1946). I have yet to locate any death certificate or divorce papers for Roy Lewis. Frank M. Lewis married Hester E. Slaymaker in Chicago, Cook County, on Dec. 12, 1944. The 1940 census listed Hettie as an unmarried and unpaid worker, living with William and Elizabeth Ferguson in Erie, Whiteside County, Illinois.  At the age of 63 yrs. old, her relationship to the 73-yrs. old couple was listed as “housekeeper.” I would bet that after her mother died, she had nowhere to go. Like Frank Lewis, Hettie also grew up in Whiteside County. She was the daughter of Samuel and Mary Slaymaker. Like Frank, her parents moved west from Pennsylvania and each grew up on a farm. They must have had quite a bit in common, with many shared experiences of their youth. In her youth, Hattie worked as a school teacher in Albany, Illinois; the same town where Frank’s parents were laid to rest. Sadly, their marriage only lasted two years, with Hettie passing away in Mount Clemens, Michigan the fall of 1946.

On October 29, 1946, the “Daily Gazette” announced the death of Mrs. Frank Lewis.  The obituary reported:

“Sister Succumbs”
Erie relatives received word Tuesday morning of the sudden death of Mrs. Frank Lewis, 69, at 2 o’clock Tuesday morning at the home in Mt. Clemens, Mich. Her brothers, Albert, Harris, and George Slaymaker and her nephew Delbert Slaymaker left early for Chicago from where Albert and George accompanied their brother Charles to Mt. Clemens. Mrs. Lewis, the former Hettie Slaymaker of Erie was married to Mr. Lewis about two years ago and has since resided in Mt. Clemens. Surviving besides the brothers mentioned are a sister Mrs. Clyde Ford of Geneseo and a brother Jesse of Morgan, Minn.

On October 30, 1946, the “Daily Gazette” provided a little more information about Hattie’s life:

“Funeral of Mrs. Frank Lewis of Mt. Clemens, Mich., Here Saturday”
Funeral services for Mrs. Frank Lewis of Mt. Clemens, Mich., will be held Saturday afternoon at 2 o’clock in the Erie Methodist church. Interment will be in the Kingsbury cemetery in Newton township. The remains will arrive in Sterling Thursday night.
Mrs. Lewis, the former Miss Hettie Slaymaker, was born near Erie in Newton township Jan. 17, 1877, the daughter of Samuel and Mary Blean Slaymaker. She attended the Kingsbury school. the family later resided in Geneseo for a few years and then in Albany where she was a teacher in the school for a number of years. Several years ago, she and her mother and sister came to Erie to reside and she cared for her in her declining years. Mrs. Slaymaker’s death occurred here a number of years ago.
Hettie, as she was known to her many friends, was an active member in the Methodist church during her residence there transferring from the Kingsbury Presbyterian church. In November 1944 she was married to Frank Lewis of Mt. Clemens, Mich., and her home had since been in that city. She transferred her church membership to a Presbyterian church there but retained her membership in the Methodist Friendly Circle class here.
Surviving besides the husband are a sister, Mrs. Clyde Ford of Geneseo and five brothers, Albert, George and Harris Slaymaker of Erie and brothers Jesse Slaymaker of Morgan, Minn., and Charles Slaymaker of Chicago.

Lewis passed away on Aug. 27, 1953 and is buried in Kingsbury Presbyterian Cemetery in Newton Corners, Whiteside County, Illinois.  His obituary was published in “The Dispatch” of Moline, Illinois on August 29, 1953 (page 11):

“ALBANY- Frank Lewis, 88, formerly of Albany, died Thursday in Mt. Clemens, Mich., where he had been ill for some time. The body will be brought to the Fay Funeral Home in Fulton tomorrow night, and the funeral will be held at 2 Monday in the Fay Funeral home. Burial will be in Kingsbury Cemetery near here. He was one of 10 children of William and Amanda Lewis. He was married twice, the second time to Miss Hettie Slaymaker, and both wives preceded him in death. Surviving are four brothers, Fred of Crete, Lydon of Comanche, Ia., Ross of near Mobile, Ala., Earl of Denver. He was preceded in death by his parents, a sister, Luna Atkinson, and four brothers,- Clare, Will, Dell, and Paul.”

Lewis was last remembered by a fellow scenic artist forty-five years ago. The following was written by former Sosman & Landis scenic artist, John Hanny, to Dr. John Rothgeb at the University of Texas on July 14, 1976. Hanny wrote, “[Sosman & Landis] was a wonderful place to work – especially for young and hopeful painters where they could get fine training and experience working with such men as Thomas G. Moses. David Strong, Fred Evans, Frank Lewis, Fred Scott, and William Nutzhorn and others.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Fred Evans was a scenic artist at Sosman & Landis who specialized in painting street scenes. I have yet to locate definitive employment dates for Evans at the firm, but it was the early twentieth century.

Frederick Arthur Evans was born in Wales, sometime between 1853 and 1855. He was the son of Robert Evans and Mary Roberts, with his birth possibly registered at Merthyr Tydfil in Glamorgan County. To date, nothing is known of his early childhood or emigration to America, yet Frederick was living in the United States by 1870 and naturalized by 1872. The 1870 US Federal Census lists a 16-yrs.-old Frederick Evans living with Robert Roberts and Elizabeth Roberts in Chicago’s Sixth Ward. As Roberts was his mother’s maiden name, this was possibly a maternal familial tie, likely an uncle. At the time, Robert Roberts was 32-yrs. old and employed as a brass moulder. 

By 1875 Frederick was listed in the Chicago Directory as a printer. The next year, in 1876, he was listed as a painter, boarding at 514 Wabash Avenue in Chicago. Evans would continue to work in both the printing and painting fields for the remainder of his life. From 1878 until 1901, the “Chicago Directory” pretty consistently listed Evans as a printed, and the 1910 Census listed him as a “lithographer.” That being said, this does not mean that Evans solely worked for the printing industry, as many professional lithographers also worked at scenic artists throughout the late-nineteenth-century and early-twentieth-century. Even in 1920, the federal census listed two occupations and industries for Evans: the first entry was “editor” in the “newspaper” industry, and his second entry was “laborer” in the “drops” industry. Evans represents a unique type of career combination (scenic artist/lithographer); one that I have encountered before. These dual careers paired so well together at this time.

I am going to take a moment to address this blending of printing and painting occupations, a group of artists who lived with one foot in the painting profession and the other foot in the printing industry. Nineteenth-century scenic art paired beautifully with other illustrative arts. There is something extremely comforting about being able to paint both big and small, and there were always the small models and color renderings to create for projects. Until scenic studios began to function like a factory, scenic artists had to be well-versed in a variety of artistic mediums and scales.

Two of the most famous painter/printer pairings were Otto Jevne and P. M. Almini. There is a lovely article about the two at Chicagology, here is the link: https://chicagology.com/prefire/prefire175/

Jevne & Almini not only ran an extremely successful decorative firms, but also were well known for their pre-1871 color lithographs of Chicago.  The two partnered in 1855 to establish Jevne & Almini, fresco artists. By the 1860s, they entered the publishing business. Their most popular work was a series entitled “Chicago Illustrated,” beginning in 1866. The publication included stunning views of Chicago and descriptive text.

They did not leave the decorative painting business to focus on publishing, instead they diversified their interests. All the while, the two operated a successful painting firm and artistic supply business, securing interior decoration contracts for numerous churches, assembly halls, and public buildings across the country. Their project’s included well-known theaters such as McVicker’s Theatre and Crosby’s Opera House in Chicago, as well as other prominent structures across the country, including state capitols in Madison, Wisconsin, Des Moines, Iowa, and Topeka, Kansas. In addition to painting and publishing, Jevne & Almini also featured a “Free Art Gallery” and sold painting supplies in the mid-1860s, located at 152-4 Clark Street. An advertisement from 1869 announced, “JEVNE & ALMINI, Importers and Dealers in Artist and Painters’ Materials, and Fresco Painters, 152 & 154 Clark Street, Chicago. They became a hub, gathering a variety of artists and forming an incredible network of skilled labor; this was a brilliant business marketing strategy.

Unfortunately, it was the Chicago fire of 1871 that terminated the partnership and end their involvement in the publication business.  The two split, with each artist establishing their own firm. Many Sosman & Landis artists got their start at P. M. Almini & Co., including last president of the firm, Thomas G. Moses (1856-1934). In the early 1870s, Moses worked for Louis Malmsha at Almini’s company, gilding opera boxes and assisting with ornamental painting projects. Moses entered the scenic art profession as an after-hours-assistant to his mentor Malmsha, painting stage settings at McVicker’s Theatre.

Another example of this dual career approach is Charles S. Graham, who also greatly influenced Moses’ scenic art career (link to my past post about it: https://drypigment.net2018/10/03/tales-from-a-scenic-artist-and-scholar-part-524-charles-s-graham/). Graham was another professional who worked as both a scenic artist and lithographer, making a national name for himself by the late-nineteenth-century. His work was especially popular at Harper’s Magazine. Here is a work by Graham for Harper’s, dated Nov. 30, 1878; it really bridges the gap between lithography and scenic art:

So, you see, Fred A. Evans working as a printer and painter is a common pairing.

I am including listings for Frederick A. Evans’ from the Chicago Directory, c. 1875-1901. There are a few gaps in years, but it still gives a pretty good scope of his printing career and residences in Chicago. It also provides a sense of how difficult it is can be to track down an individual with slight name changes; it involves searching each directory and making comparisons with other artists.

1875 Chicago Directory: Evans, Frederick. printer. R 49 W. Ohio.

1876 Chicago Directory: Evans, Frederick. painter, boarding at 514 Wabash av

1877 Chicago Directory: Evans, Frederick A. foreman 170 Clark, h 152 Douglas Av. [This is where the publication office of the Educational Weekly was located in 1877 until it moved to 170 Madison later that year].

1878 Chicago Directory: Evans, Fred A. printer, h 163 24^th

1882 Chicago Directory: Evans, Fred A. printer, h 2828 Groveland

1885 Chicago Directory: Evans, Frederick A. printer 18 Fullerton av h 372 Chicago av

1885 Lakeview, Illinois, City Directory: Evans, F. A. clk. Deering & Co. r 372 E. Chicago av [William Deering & Co. was a farm machinery firm; likely an illustrator for ads or painter of equipment.]

1886 Lakeview, Illinois, City Directory: Evans, Frederick. lithog, r 763 Sheffield av

1887 Chicago Directory: Evans, Frederick A. printer, h 763 Sheffield av

1887 Lakeview, Illinois, City Directory: Evans, Frederick A. lithographer, r 763 Sheffield av

1888 Lakeview, Illinois, City Directory: Evans, F. A. clerk, W. Deering & Co. 18 Fullerton av

1888 Chicago Directory: Evans, Frederick A. printer, h. 763 Sheffield av

1889 Chicago Directory: Evans, Frederick A. clk. 16 Fullerton av. H 763 Sheffield

1889 Lakeview, Illinois, City Directory: Evans, Fred A. clerk, W. Deering & Co. r. 760 Sheffield av

1890 Chicago Directory: Evans, Frederick A. printer, h. 763 Sheffield av

1891 Chicago Directory: Evans, F. A. clk. 18 Fullerton av. h. 763 Sheffield av

1896 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av.

1897 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av

1898 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av

1899 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av

1900 Chicago Directory: Evans, Fred printer h. 666 Sheffield av

1901 Chicago Directory: Evans, Frederick A. printer h 1239 Montana

The 1880 Census listed Fred Evans living with Ada Evans, still working as a printer. They lived at 2964 Dearborn St in Chicago. In actuality, Frederick Evans married Adah (Ada) Senior on June 10, 1885 in Norwood Park (Cook County), Illinois. They would later be buried in Norwood too. Adah L. Senior (b. 1859) was the daughter of Anna (Ann) Hewes and Fred Senior. Born in England, she emigrated to the United States in 1877 and was naturalized in 1892.

Any information pertaining to the Evans family has been extremely difficult to track down and I have spent countless hours examining census reports, immigration records, ship’s manifests, and city directories. Here is what I have located to date: The couple celebrated the birth of a daughter between 1888 and 1894. Pearle A. “Annie” Evans was listed as Annie, Perala, and Pearl.  The 1910 US Federal Census lists Frederick A. Evans as a 53-yrs.-old lithographer working in the newspaper industry. At this time, he was living with his 49-yrs.-old wife Adah L. and is 22-yrs.-old daughter Annie S. (Pearl Annie), at 4148 Sacramento Ave.

In 1914, there were two Pearl (Pearl Annie) Evans in the Chicago Directory: One as a stenographer with Swift & Co. stockyards, h. 3850 Indiana av and the second a stenographer 1047, 175 W Jackson bl h 5949 S Wood. Meanwhile, Fred and Adah were living at 4140 Sacramento av, with Fred Evans still listed as a printer.

On July 19, 1918  the “Chicago Tribune” listed Adah L. and Pearle A. Evans’ involvement with the Grover Cleveland school dedication services (page 7). The article reported, “Mrs. Adah L. Evans sang “The Star Spangled Banner,” accompanied by Miss Pearle A. Evans, who was pianist for the evening.” On July 22, 1918, the “Chicago Tribune” reported that Mrs. Adah L. Evans would sing “Star Spangled Banner,” accompanied by Miss Pearla Evans (Miss Evans is also a musician during the ceremonial part of the evening).  The performance “for the installation of officers at the White Star auxiliary to the Second Illinois Infantry, now the 132 United States infantry” (page 11).

Six years later, the 1920 census lists Pearla Evans as a dancer in the “stage” industry, living with her parents on Sacramento Ave. At this time, Fred was still associated with the publishing and scenery professions.  In 1920, “Pearla” listed her age as “26” in the census, but I highly suspect this information. 

Both Fred and Adah died in 1925 and were buried at the Acacia Park Cemetery and Mausoleum in Norwood, Illinois. It originated as a cemetery for Masons and their families, opened on Chicago’s far northside in 1922. Fred died on January 9, 1924,with Adah following on March 18 of that same year. By 1940, the federal census listed Pearl Evans as an “inmate” (b. 1894) at the Lincoln State School and Colony. It was not a prison, but an asylum for the “feeble minded” in West Lincoln Township, Illinois. The census notes that Pearl only attended the first grade of school; no other information about her past was provided. I have no way of knowing if this is the real fate of Fred and Ada’s daughter. I have yet to locate any marriage or death records for her.

The only other information pertaining to Fred Evans’ scenic art career at Sosman & Landis was provided by Art Oberbeck in an interview with Dr. John Rothgeb on July 24, 1976.  Oberbeck worked at Sosman and Landis at the same time Fred Evans, approximately 1907-1915. He referred to the former Sosman & Landis as a 75 yrs. old “oddball;” but age and character is quite subjective, so I take his comments with a grain of salt. Oberbeck credited Evans’ approach to laying out street scenes as infallible. His process was accounted by Randi Givercer Frank’s M.A. Thesis, “Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925.” She credits Evan’s Sosman & Landis’ foremost “street painter.” Evans process for laying out street scene included placing the perspective point or horizon line should approximately 5’-9” up from the bottom of the painted composition. For many, this fell at eye-level when painting on a vertical frame. Once the horizon line was established, the correct way to position any single-story building was to put two-thirds of the of the building above the horizon line and one-third below the horizon line. If it was a two-story building, the height of the first story was simply doubled. Keep in mind that painted perspective for the early-twentieth-century stage did not follow the conventional rules for perspective in fine art.

On that note, I am going to include an excerpt from a publication written by another Sosman & Landis employee, Frank H. Atkinson. Atkinson’s publication “Scene Painting and Bulletin Art” (1916) includes a section entitled “Stage Perspective.” Atkinson writes, “Rules of perspective are often very much modified, or even rejected, in scene painting, and “stage perspective” is adopted, especially in the creation of wings or side scenes. In true perspective all lines must converge to a single vanishing point, or they must converge to a double vanishing point. But in scene painting it becomes necessary to violate the rules in order to avoid embarrassment in the result which would follow if true perspective rules are applied below the horizon line. Stage perspective dictates that all lines below the horizon line be kept parallel to the stage floor and the horizon line.” Atkinson’s illustrations place the horizon line at approximately 5’-9” in most scenarios. I am including mention of Atkinson, as he enters the storyline tomorrow when I explore the life and career of Sosman & Landis employee #41 Frank Lewis. Lewis’ younger sister married Atkinson, and they were all living in Chicago and working at Sosman & Landis when Atkinson published his book.

Finally, Dr. John Rothgeb interviewed another former Sosman & Landis scenic artist John Hanny between 1976 and 1983. A letter from John Hanny to Dr. John Rothgeb on July 14, 1976, stated, “[Sosman & Landis] was a wonderful place to work – especially for young and hopeful painters where they could get fine training and experience working with such men as Thomas G. Moses. David Strong, Fred Evans. Frank Lewis, Fred Scott, and William Nutzhorn and others.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Frank Wright Thompson and his father, Thomas Edward “Ed” Thompson, were scenic artists at the Sosman and Landis Scene Painting Studio in the early twentieth century.  

Fred Thompson was mentioned by Randy Givercer Frank in her B.A. Thesis, “The Sosman & Landis Studio: A Study in Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979, page 91). She wrote, “Frank, born in 1880, did a little bit of everything, usually painting those things that other artists didn’t want to paint. After Sosman & Landis closed, he became a salesman for Oklahoma Scenic in Oklahoma City.” First of all, Frank was born in 1879, not 1880, and never worked for the Oklahoma Scenic Co. However, there was a Frank D. Thompson (1910-1980) who worked as a salesman for the Oklahoma Scenic Co. in 1937. Frank D. Thompson was the son of Frank A. and Marie J. Thompson, married to Elva Thompson and living at lived at 1300 Nebraska av.; completely different Frank Thompson.

In a 1976 interview conducted by Dr. John Rothgeb with John Hanny, a former Sosman & Landis scenic artist. Hanny remembered that the Ed and Frank Thompson specialized in Masonic scenery at Sosman & Landis. Thompson’s work on Masonic scenes is verified in a studio photograph, c. 1910. The image depicts two men industriously painting on palatial interior backdrop. Hanny indicated that Frank Thompson was  the one standing up and working on the drop. The backdrop has an identifiable composition, designed for an Ancient and Accepted Scottish Rite of Freemasonry degree production. It depicts King Solomon’s Apartments for the sixth and ninth degrees. This was a standard stock scene for Masonic theatre, and extant examples of the same design still exist at the Tucson Scottish Rite in Wichita, Kansas (1908), St. Paul, Minnesota (1910), Tucson, Arizona (1914) and Grand Forks, North Dakota (1915). Below is a similar drop still used at the Scottish Rite Theatre in Tucson.

Frank W. Thompson was the eldest of three sons born to Thomas E. Thompson and Rhonda Wright. His brothers were Fred (b. 1882) and Hiram (b. 1885). Frank was born in Indianapolis, Indiana on December 1, 1879. As a young boy, the family moved from Indianapolis, Indiana, to Cincinnati, Ohio, where his father worked as a scenic artist. In Cincinnati the elder Thompson studied with master scenic artist DeWitt C. Waugh at the Grand Opera House. Frank was five years old when his father started his two-year assistantship with Waugh. Ed Thompson was painting at a variety of theaters in Indianapolis, Cincinnati and St. Louis as Frank grew up.

The Thompson family moved to St, Louis, Missouri, in the early 1890s. This is where Frank came of age and trained as a scenic artist. It is very likely that Frank learned the scenic art trade from his father, and first began painting at Hagan’s Opera House when he was a teenager. In St. Louis, the Ed Thompson began working at Hagan’s in 1891; this was when Frank was eleven years old. From 1893 to 1897, the “St. Louis City Directory” listed “Edward Thompson” as stage manager for the Hagan Opera House. This would have been the time when Frank began focusing on the scenic art trade. By 1900, Frank was living on his own and working as a scenic artist in St. Louis. He married Emma J. Dietche in 1900 and moved in with his wife’s family, his mother-in-law’s home (Lena Dietche), that same year.

The 1900 Census lists newlyweds Emma J. Dietche Thompson (also Dietsche) and Frank Thompson living at 4337 Juniata Street in St. Louis, Missouri. This was the same address listed for Emma’s mother. Mrs. Dietche was 42 years. old at the time and recently widowed, losing her husband Charles Dietche (b. 1848) the year before to phthisis pulmonalis (intrathoracic tuberculosis). Carl Dietche’s occupation was listed as “drummer” when he passed. As a musician in St. Louis, he was part of the theatre scene, likely why Frank and Emma met. Emma J. Dietche was born in Missouri in 1880. She had an older brother named Adolphus Dietche, born the year before her.

Tragedy struck the Thompson family in 1904 when Frank’s younger brother drowned on August 12. At the time, he was attending law school in Indianapolis, Indiana. On August 15, 1904, the “Indianapolis News” reported, “Frederick Thompson, 21, 113 Hancock ave., accidental drowning” (page 8).

By 1910, the extended Thompson Family had relocated to Chicago, with Frank, Emma and their young son Robert living in York Township. York was due west of Chicago, approximately Eleven miles farther than Oak Park Thomas G. Moses and many scenic artists lived. The census that year listed Frank as a scenic artist, living on Stewart Ave.  Emma’s mother was still living with them.

Franks’ WWI Draft Registration listed “scenic artist” and “self” as employer; this meant that he was not a full-time employee at any one studio. This does not mean that he wasn’t working at Sosman & Landis, just not a full-time staff member. At the time, his address was 2414 Ems St. Chicago, Illinois. His “place of employment or business” was listed as 19 W 20^th St. Chicago. This address was a scenic studio operated by former Sosman & Landis president, Thomas G. Moses when he temporarily left the company that year. On Nov. 28, 1918, the “Chicago Tribune” posted the following want ad: “BOYS- WHO DESIRE TO LEARN SCENERY painting; good opportunity for advancement. Apply after 9 a.m. Friday. MR. MOSES, 19 W 20^th St. 2d floor” (page 26). Frank’s physical description on his WWI Draft registration card was noted as medium height, medium build, brown hair and brown eyes.

The 1920 Census still listed “F W Thompson” as a s scenic artist in the theatre industry. The Thompsons were living at 2414 Colvin St., still in Chicago. At this time, Emma was listed as an office worker for a nearby dry goods store.

By 1930, the Thompsons returned to the western suburbs of Chicago. The 1930 census listed Frank, Emma, Robert and Lena living at 190 Crescent Ave. in York, Illinois. Frank was still listed as a scenic artist in the theatre industry.  Robert’s occupation was listed, “will work with his father;” he was 22 years old. I have uncovered very little information about the Thompson family during the depression, yet he continued to work as an artist.

Frank W. Thompson passed away on May 18, 1940 in Elmhurst, Illinois. Elmhurst was a short distance north from his former home of York. At the time of death, he was listed as a mural artist. He is buried in Norwood (Cook County) Illinois

Frank’s son, Robert Frank Thompson, did not enter the theatre profession or work as an artist after his father passed away. His WWII draft registration card listed his employer as the Illinois State Prison in Joliet, Illinois. At  the time Robert was still living in Elmhurst at 190 E. Crescent Ave. Robert was described as 5’-11 ½”, 135 lbs. with brown hair, brown eyes and a dark brown complexion.

To be continued….

Copyright © 2021 by Wendy Waszut-Barrett

 “Ed” Thompson and his son, Frank W. Thompson, were scenic artists at Sosman & Landis. In later years, fellow scenic artist John Hanny recalled that they specialized in Masonic scenery. This may be true as they were both at the studio during a peak period of production for Scottish Rite scenery (c. 1905-1920). I have yet to locate any Masonic affiliation for either man.

I am going to start with the life and career of the father – Thomas Edward Thompson. His name varies in historic records: Ed Thompson, Thos. Edward Thompson, T. Edward Thompson, Edward T. Thompson and Edward Thompson. Despite the name changes, it is always the same artist, with same wife, and same career.  As a young man, he went by T. Edward. As an old man, he went by Thomas E. His middle life is all mixed up; as for most, life events may prompt us to change everything, especially how our names appear in print.

Thomas E. Thompson was born on October 19, 1854 in Indianapolis, Indiana. He was the eldest child of Eli Thompson (1831-1895) and Catherine A. Weir (1837-1910). His parents were married on Dec. 31, 1853, and their first child arrived the next year. The 1870 US Federal Census listed the following members of the Thompson household: Eli Thompson (head, 39), Catharine A. Thompson (wife, 33), Edward Thompson (son, 16), Mary Thompson (daughter, 14), John Thompson (son, 12), Fannie Thompson (daughter, 9), George Thompson (son, 2) and Mary Kellin (possibly a servant). Little is known of Thompson’s early childhood, but he was the first of the children to be apprenticed in a trade. I can only surmise it was some form of decorative arts or painting.

I am going to briefly describe the patriarch of the Thompson family, Eli, in Indianapolis. It helps set the stage for Thomas E. Thompson’s home and youth. His father Eli was the son of John Thompson, one of the earliest settlers in Indianapolis. The Thompsons were a very well-respected family in the region and Eli grew to be quite a popular public figure. Starting out as a carpenter, he soon entered the lumber business. As an active leader in several local organizations, Eli soon became a city marshal and later the Chief of Police. His obituary, published on Dec. 8, 1895, in the “Indianapolis Journal,” lists many of his accomplishments. Eli even built a workshop for Thomas A. Edison when Edison was only a telegraph operator.

As Thomas E. Thompson grew to adulthood, his father became a central figure in Indianapolis society, mixing with a variety of personalities and businessmen. I am fascinated that his eldest son soon entered the theatre profession, training as a scenic artist in nearby Cincinnati.

On Feb. 5, 1876, Thomas E. married Rhonda Wright (1859-1909) in Marion County, Indiana.  Rhonda (sometimes listed as Rhoda) was the daughter of Annie Galassyre Wright and Hiram N. Wright, a blacksmith. After the Civil War, the Wrights relocated from Pennsylvania to Indiana.  By 1874, the Wright family was living in Indianapolis, the city where Rhonda would meet her future husband Thomas Edward; they two were only two years apart in age. The year after Rhonda wed “Edward,” he was officially listed in the Indianapolis City Directory as an artist. This title quickly shifted to specify “scenic artist.” From 1879 to 1881, T. Edward Thompson was listed in the Indianapolis Directory as a scenic artist, living with his in-laws at 300 Bellefontaine.

The 1880 census listed Rhonda, Edward, and their six-month-old son Frank as part of the Hiram N. Wright household, 300 Bellefontaine Street. It was obviously a home full of people and professions, with very little space or privacy. The extended family included: Hiram N. Wright (head, blacksmith, 60) Frank M. Wright (son, attorney, 32), Henry Clay Wright (son, machinist, 30), Amada J. Wright (daughter-in-law, 29), Louise M. Wright (granddaughter, 3), Josephine Wright (daughter, 23), Rhonda Thompson (daughter, 21), Edward Thompson (son-in-law, scenic artist, 26), Frank M. Thompson (grandson, 6 months), Annie Thompson (daughter, 19) and Ruth (daughter, 10). In 1882, Thomas E. and Rhonda celebrated the birth of another son, Frederick (1882-1904). It was time for the growing family to move out and get their own place.

By 1884, Thomas E. and Rhonda relocated their small family to Cincinnati where their third son was born. Hiram Henry Thompson (Sr.) arrived on February 18, 1885.  Thomas E. continued to seek employment as a scenic artist, assisting DeWitt C. Waugh at the Grand Opera House.  This is an important connection as Thompson’s future success was likely based on this two-year assistantship at the Grand Opera House. Experienced scenic artists who were associated with a particular venue often took on a series of assistants; such was the case with Thompson began working at the Grand Opera House.  Waugh became associated with Cincinnati’s  Grand Opera House in 1879, working with various assistants over the years: Frank J. Duggy was his assistant from 1880-1881;  James B. Quinn was his assistant from 1882-1883; and Thomas E. Thompson was his assistant from 1884-1885. The Cincinnati City Directory also noted that Thomas and DeWitt lived in Elmwood Place, Ohio. The 1884 and 1885 Directory listed: “Thompson, Thos. E. Thompson, ass’t scenic artist, Grand Opera House, res. Elmwood Place.”

DeWitt C. Waugh was not only a regional legend, but also a national legend; known for his incredible skill set, precision and speed. His 1894 obituary remembered, “DeWitt Clinton Waugh, widely known as one of the most capable scenic artists of later years, died at his home in Cincinnati last Tuesday afternoon and was buried Friday.  He was born at Rock Island, Illinois, almost fifty-eight years ago, coming from a family prominent as artists, his father being a painter of no little distinction, and the latter’s brother one of the best panoramic artists the country has produced, “Waugh’s Picturesque Italy” being his masterpiece.  DeWitt was apprenticed to a house and sign painter at his parent’s death, but he was afterward taken care of by his uncle the panorama painter. DeWitt crossed the plains with a caravan during the Pike’s Peak gold excitement, and failing of success in his search for gold, he became the leader of a small string band, which traveled about playing at the small mining towns. He was a fine musician, and could perform on almost any instrument. Later he became a leader of the orchestra of the first theater opened in Denver. While in that capacity need for a special scenery arose for the old play “The White Horse of the Peppers.” He remarked that he could do better than the local artist had done, was given an opportunity, made a great hit with the Denver public, and stepped into the pathway that led to fame. Wishing to enlarge his field after three or four years, he moved to Chicago. The famous Voegtlin was artist of the old Globe Theatre. After a row with the manager, Voegtlin resigned, leaving an unfinished immense “Gothic Interior.”  Mrs. Waugh, who was playing at the theater, suggested that her husband could complete it and to the surprise of all, he did it to such satisfaction that no one could tell where the great Swedish artist had quit work and the American boy begun. From that day he rose to the front rank. His great drop curtain at Robinson’s and several at the Grand in Cincinnati gained the approval of the critics and scenic artists of the country.”

Waugh was the perfect mentor; one who shared both skills and connections. After working for Waugh in 1884-1885, Thomas E. struck out on his own. In 1886, T. Edward Thompson was listed in the “Cincinnati City Directory” as “artist, 92 Elm, res. Elmwood Place”. Other scenic artists listed in the City Directory that year included: Waugh’s previous assistant, James Quinn; John E. Leslie at Havlin’s Theatre; and local freelance artists E. T. Harvey, John Herfurth, Emil Bazzaine, Lewis Kreyehagen, Simon Frank, and George Federle. By 1887, the Cincinnati Directory listed “Edward Thompson” as a lead scenic artist at the Grand Opera House. He was still living in Elmwood Place.

Thompson continued to work throughout the region for the remainder of the decade and by 1889 relocated to St. Louis, Missouri. There, he was listed as an artist living at 20 Centre. However, there was incredible competition in St. Louis, especially the partnership of Thomas C. Noxon and Patrick Toomey who ran Noxon & Toomey. Noxon and Toomey morphed into Albert, Noxon & Toomey at this time, adding Ernest Albert.  In 1902 the successful scenic studio became Toomey & Volland, after Hugo R. Volland entered the picture. Volland had the Masonic connections.  

Thompson E. began to diversify his trade beyond scenic art; this was similar Waugh’s approach before settling in Cincinnati. Thompson became associated with the Hagan Opera House, located at Tenth and Pine Streets in St. Louis.

Now listed as “T. Edward Thompson” in  city directories, he began managing all backstage activities for the venue. This did not mean that he stopped painting; he just gained more control and responsibilities. From 1893 to 1897, the “St. Louis City Directory” listed “Edward Thompson, stage manager, Hagan Opera House.” During this time, his home residence was located on Wyoming St.

In 1900, the Thompsons were still living at 4173 Wyoming Street in St. Louis with their two youngest sons, Fred and Hiram. Their eldest son, Frank W. Thompson, was working as a scenic artist St. Louis and living with his wife Emma at 4337 Juniata Street. Both Frank and his father remained integrally connected to the scenic art scene in the region. Frank’s younger brother Hiram (1885-1958) was also an artist, first working as a plate printer and later a commercial artist. Brother Fred (1883-1904) worked as a clerk for the Missouri Railroad and then entered law school.

The three brothers were not destined to grow old together, sharing stories of their theatrical father. After Fred Thompson entered law school in Indianapolis, he drowned at the age of 21 yrs. old in 1904. This tragic event may have been a catalyst that prompted the family to relocate to other cities. The Thomas E. moved north to Chicago where he worked at Sosman & Landis, while Frank moved to Milwaukee, initially securing employment as a sign painter.

In 1905, Ed Thompson was working for Thomas G. Moses at Sosman & Landis. Moses records that Ed Thompson worked on Old Mill Scenery for a Luna Park Project. Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park.  Ed Thompson went with me and J. H. Young went to do the properties and papier mâché work.  We also went to Pittsburg to do an old mill there for the same firm.  We also did two small stages in the Pittsburg Park.”

Thompson likely remained on staff at Sosman & Landis when work was plentiful for the firm. Sosman & Landis were notorious for cutting their staff as soon a work slowed down. In Chicago, information surrounding the life and career of Thomas E. dwindles. It is possible that scenic studio work swallowed up his name, as much art produced by a large firm seldom credits individual contributions to a project.

Thomas E. Thompson’s life and career become solely tied to census reports. A 1910 Census lists Edward Thompson living with his son Hiram and daughter-in-law Bertha “Birdie” Reichow Thompson (1887-1971). The census report noted that Hiram was a wholesale clerk and Edward was unemployed. This likely meant temporarily unemployed, yet there is no way to know if it was economic down turn, an accident, substance abuse, or something else.

Shortly after the census report, Hiram and his growing family relocated to Davenport, Iowa, and Thomas E. stayed behind in Chicago. By 1920 Hiram  was working as a commercial artist in Davenport; a career that he would continue for the remainder of his life. In 1920, their growing family included three children: Dorothy (6), Jeanette (3) and Hiram Jr. (2). Hiram’s brood remained in Davenport for at least another decade, with the 1930 Census listing Hiram’s occupation as “artist” in the “studio” industry. Hiram continued to work as a commercial artist, eventually moving back to Chicago in 1935 and on to New York by 1940. Hiram Sr. is even included in “Jacobsen’s Biographical Index of American Artists.” His son, Hiram Jr., became an assistant production manager for the Dictaphone Company, later working for the Abbott Kimball Company in Los Angeles. Artistry flowed heavily from one Thompson to another.

For Thomas E., it was a different story. The  1920 US Census listed Thomas E. Thompson living at 338 Morgan St. in Chicago. His occupation was still listed as a “painter” in the “shop” industry. As the head of a two-person household, he was listed as living with a boarder named Clara Smith. Smith was a 42-yrs. old teacher. She was still living with Thompson in 1930, both of them now residing at 69 Lexington St. in Chicago. At the time, Thompson listed his occupation as “painting” in the “scene” industry. He was still listed as the head of household, with lodger Clara Y Smith [also recorded as Clara G. Smith]. Smith was still working as a teacher.

Thomas E. Thompson died on May 15, 1931 in Chicago. He is buried at Waldheim Jewish Cemetery in Forest Park, Illinois. I have yet to locate his gravesite or any information about his cause of death.

Waldheim Jewish cemetery was founded during the second wave of Jewish immigration to Chicago in the late-19th century.  With immigrants insisting on their own Jewish cemeteries, these groups eagerly looked for a cemetery to sell its members plots in their own specially created sections. Beginning in 1870, over 280 cemetery sections representing various Chicago family groups, synagogues, vereins, landsmanshaften, and other organizations purchased sections in Waldheim Cemetery located in Forest Park, just 9 miles west of the Loop. Waldheim was unique in that, although it was one cemetery, it was comprised of 288 separate cemeteries with different owners, prices, rules, regulations and individual caretakers. Here is the link to the cemetery site:

https://jgsi.org/waldheim-cemetery

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

William “Willie” Nutzhorn was a scenic artist at Sosman & Landis Scene Painting Studio for approximately two decades, from 1894 until the early 1920s. He specialized in interior settings and took numerous assistants under his wing, including Art Rider and John Hanny.

Born on Nov. 23, 1873 in Chicago, Illinois, he was the fourth of nine children born of Gerhard Dietrich Nutzhorn and Antonie C. Wilnes (Wilms in some accounts). The couple emigrated from Germany in 1868 with their two young daughters, Amalia (1865-1951) and Augusta (1867-1925). Amelia later married an architect (Otto Runde, 1886), and Augusta later married a musical instrument merchant (Herman Sakrzewsky, 1889). When Gerhard, Antonie, Amelia and August relocated to the United States, they first settled in Manitowoc, Wisconsin. Shortly after their arrival, they celebrated the birth of Henry B. Nutzhorn (1868-1931). The family continued on to Chicago by the early 1870s.  

Gerhard also went by Gerhart or G. D. and opened ran a grocery store, Nutzhorn & Praeger. He was naturalized on Nov. 1, 1873. By 1874, local newspapers advertised, “ G. D. Nutzhorn (formerly Nutzhorn & Praeger), wholesale and retail dealer in groceries, flour, food, and provisions, 568 and 571 Elston-av.; goods delivered to any part of the city; prices as low as the market; satisfaction guaranteed” (“Chicago Tribune,” 6 Dec, 1874, page 14). At the time, the family was living at 724 Elston Avenue. In 1875, twins were born to the couple, but neither survived infancy. More children followed, including Arthur Carl (1876-1940), Clara (1878-1942) and George (1879-1880).

In 1876, The Nutzhorn family was living right next to their business; the Nutzhorn grocery store was 725 Elston Avenue and their home address was 723 Elston Avenue. Gerhard continued to run a grocery store for the remainder of the 1870s. but by 1880 was running a saloon.

The 1880 the Federal Census listed Gerhard’s occupation as “saloon,” an occupation that continued to be listed in the Chicago Directory in 1888. It was located at 241 W. Chicago Ave.

On March 1, 1894, Gerhard passed away at the age 56 yrs. old, with his eldest son Henry becoming head of household. By 1900 the entire Nutzhorn family was living at 1075 Kimball Av. This included Henry (plumber), William (scenic artist), Arthur Carl (plumber), Clara (house work), and George (no occupation). It became obvious that William was striking out on his own in more ways than one. He was employed at Sosman & Landis as a paint boy, gradually making his way to paint assistant before securing his own palette.

On January 16, 1900, the Chicago Tribune” reported, “WOULD NOT ENFORCE THE LAW. William Nutzhorn, Being Examined for Service as a Juror, Gives an Answer that Excuses Him. “No, I don’t believe in the enforcement of the laws,” was the statement made yesterday in Judge Hutchinson’s court by William Nutzhorn, 1075 Kimbark avenue, who was being examined touching his qualification to serve as a juror in the case of James H. Bird, on trial for forgery. Mr. Nutzhorn would not qualify his answer in any way, but said he was no Anarchist. The court excused him from jury service.” This may have been a turning point for William, however, as he soon settled down somewhat.

On April 21, 1901, William married Rose Z. Stephens (1882-1918), and the two celebrated the birth of a daughter on January 10, 1905 – Clara A, Nutzhorn.

Around this same time, Art Rider became an assistant to Nutzhorn at Sosman & Landis. When Rider later left the studio to start a position at the Grand Opera House in Philadelphia, John Hanny became Nutzhorn’s new assistant; this was around 1909. Each young man started out as a paint boy, working their way up to journeyman status over the course of several years. Paint boys became assistants before receiving their own palette, projects, and pay raise. Moses records that he hired Hanny in 1906, starting him out at sixteen years old. However, Hanny first applied for the position when he was only thirteen years old in 1903.

A paint boy’s duties primarily included washing brushes, cleaning the palettes of older artists, and other odd jobs. In later years Hanny recalled, “As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful.” Hanny greatly appreciated his training and the role of Moses at the studio, writing, “He, like Mr. Nutzhorn, was a very patient and kindly man and I shall be ever grateful for the help and the encouragement they willingly gave me” (Excerpt from Hanny letter, July 14. 1976). Many of Hanny’s statements and recollections are based on a series of interviews conducted by Dr. John Rothgeb between 1976 to 1978. At the time, his student Rand Givercier Frank was working on a B.A. Thesis entitled, “The Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979). Dr. Rothgeb had several students research specific topics as his continued to explore the history of scenic art in America. He conducted personal and telephone interviews with former Sosman & Landis employees, including Hanny and Art Oberbeck.

In a July 14, 1976, letter written by Hanny, he described that Nutzhorn’s trained in wood carving, so he was an expert on all styles of ornament and architecture. In Frank’s thesis, she wrote, “[Nutzhorn] made most of the designs for the so-called ‘Interior’ for the ‘sample case’ from which the selections were made by clients, and later produced in the Studio. These included what were called ‘Palaces,’ part of the equipment of most Vaudeville theaters. Aside from this he was an expert in wash water and did many floral pictures. As you may gather from this, he was a most able and accurate-exacting craftsman.” 

In 1902, Sosman & Landis delivered an interior setting delivered to the Tabor Opera House in 1902. It is very possible that the interior was painted by William Nutzhorn, when considering the time period, and Nutzhorn’s specialty of interiors. Here are a few examples of a set that was possibly painted by Nutzhorn in 1902; I documented the setting at the Tabor Opera House in February 2020.

In a telephone interview with Dr. Rothgeb on September 6, 1979, Hanny described his advancement at the firm and becoming Nutzhorn’s by 1909. Hanny recalled, “Those things come by chance. Somebody dies or goes away or something and you get a chance to fill in and if you make it you stay there. That’s all.” It is hard not to think George E. Snell’s (employee # 36) passing from a freak cable car accident after work. Snell was an upcoming star at the firm; one whose death provided an open slot for another aspiring paint boy.

Before Hanny, Nutzhorn’s assistant was Arthur Rider. However, Rider had a chance to join the Opera Co. in Philadelphia, therefore opening up a position for Hanny. On July 14, 1976, Hanny recalled, “It was perhaps the most fortunate thing that ever happened to me when I was selected from the paint boy group to be his assistant and learn from a ‘pro’ the fundamentals of good craftsmanship. I was with him for three years and then assigned a palette of my own at the journeyman’s pay ($35.00 per week).” Frank surmised Hanny’s training at Sosman & Landis: “From Nutzhorn he learned to be very exact and to measure correctly, an approach to painting that he found valuable. On interior scenes it was especially important that everything be laid out carefully on each piece. If this work were not done precisely, the mouldings and baseboards would not meet when the set was assembled” (pages 80-81, based on letter received from John Hanny, July 14. 1976).

By the second decade of the twentieth century, several Sosman & Landis artists joined the Brotherhood of Scene Painters and Sign and Pictorial Painters; Nutzhorn and his assistant Hanny were part of the group to join in 1912.

In 1915 the “Chicago Directory” listed William L. Nutzhorn as an artist, living at 3412 Cortland. St. in Chicago.  A few years later, his WWI Draft Registration Card still listed his occupation as theatrical scene painter, with Sosman & Landis as his employer. At the time, Nutzhorn was described as short, with a medium build. His eyes were grey and his hair brown. This description, when combined with the 1910 studio photograph of Nutzhorn provides a pretty good picture of this talented interior painter in the early twentieth century.

Shortly after he registered  for the draft in 1918, his wife passed away that fall. Records indicate she passed on October 7 and was buried at Forest Home Cemetery on October 10. This left Nutzhorn with a teenage daughter to raise, prompting a new living situation again. By 1920, he was living with his sister Clara and brother Henry again, but this time he was listed as head of household. His brother was still a plumber and his sister managed the household. Clara A. attended high school, completing coursework until her second year.

William continued to live with his daughter, even after she reached adulthood. In 1930 the two were living at 1510 N. Mansfield Ave, with William still listed as an artist and Clara A. as a homeworker. Daughter Clara was 25-yrs. old at the time. By 1940, however, each had their own home, with William living in the Saratoga hotel on 19 Dearborn Street. He was still listed as an artist in the art industry. 

In a letter written by Mildred Nutzhorn (William’s niece) to Dr. Rothgeb in 1983, a little more information comes to light about William’s career in the 1930s. On August 26, 1983, Mildred wrote, “I’m sorry I can’t tell you too much about my uncle. I only know that he worked for the theatre during the Depression of 1933-1939 for the P.W.A. as a scenic artist. My father and I would attend several performances at the Blackstone Theatre. After that he painted ice for ice shows (Ice Follies?). My one cousin told me that he painted he mural about the proscenium of the stage at Medina Temple in Chicago ages ago when it was first built. Although I’m sure he wasn’t associated with the lodge.”

She also recalled his passing, “He wasn’t written up at his death because I attended his funeral. Here is his death date however, Dec. 1942. (69 years old). Nutzhorn passed away on Sunday, December 27, 1942 in Chicago. His sister Clara Nutzhorn preceded him in death by seven months on Feb. 28, 1942.  As indicated by his niece, Nutzhorn was laid to rest without any fanfare.  His obituary in the “Chicago Tribune” simply stated, “NUTZHORN- William Nutzhorn, suddenly, beloved father of Clara. Funeral services Wednesday, 11 a.m. at chapel. 4523 Broadway. For information Longbeach 2454” (29 Dec., 1942, page 22) He left this world in relative obscurity, his contributions to scenic art only recalled by a few individuals.

Two years prior to Nutzhorn’s passing, his daughter Clara was living on her own, working in sales. In 1940, she was listed as head of her own household and working as a saleslady, residing at 672 Sheridan Road. Clara soon changed her name to “Claire” A. Nutzhorn, and eventually became Claire Adams, dropping the Nutzhorn entirely. Keep in mind that this change occurred in the midst of WWII, and I have to wonder if antisemitic sentiment prompted the name change. I cannot help but think of the name-changing in New York City during World War II and the American documentary photographer Dorothea Margaretta Nutzhorn (1895-1965) who changed her name to Dorothea Lange.

Claire Adams passed away on Sept. 15, 1987, in Chicago. Little is known of her life.

To be continued…