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 27th 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…
