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…
