Copyright © 2021 by Wendy Waszut-Barrett
Ansel Cook worked at Sosman & Landis from approximately 1906 until 1908. Starting in 1906, Cook sporadically worked at the firm’s annex studio on 20th Street, often as a manager while Thomas G. Moses was on the road. By 1904, Moses was in charge of all design, construction, painting and installation, yet continued to travel for the firm. Moses was also on the road quite a bit, still meeting with clients, negotiating contracts and painting some installations on site. During some of Moses’ many absences, his right-hand-man, Ed Loitz, was left in charge. However, when Loitz accompanied Moses, others were left with the supervision of projects at both the main and annex studios.
In 1906, Moses left Cook in charge of the annex. Upon his return, Moses wrote, “Took charge of the 20th Street Studio on my return. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” Although Cook was a very gifted artist, he was not fast enough for Moses’ standards. However, the speed at which he worked did not stop the firm from hiring Cook. In 1907, Thomas G. Moses wrote, “We opened our annex studio at 19 W. 20th Street in July, and Ansel Cook went there as a manager.” Moses later commented, “He did some very good work but was a long time doing it, which, of course, didn’t pay us.”
Sosman & Landis’ annex studios were primarily for specialty projects, especially painted scenes for Scottish Rite degree productions across the country. I believe that one of Cook’s drop curtains still exists, originally painted for the McAlester Scottish Rite Theater, c. 1907- 1908. It is currently used at the Scottish Rite Theatre in Salina, Kansas.
Years later, former Sosman & Landis scenic artist Art Overbeck remembered Cook. His recollections about the firm and various artists who worked there were shared in both in correspondence and interviews with Dr. John Rothgeb, University of Texas at Austin. from July 24, 1976, Oberbeck stated, “[Cook] could make satin shine beautifully. He used to talk and show me stuff and tell me stuff of that sort. I would lay in all the stuff the best I could myself and he’d come along with a brush and give it a couple of jabs and straighten this line out and something of that sort. And boy, it would look so beautiful. Just knowing of a touch in the right place. Oh, he was a genius.” It was the comment about satin and Cook’s specialty as a drapery and figure painter that brought to mind the above-mentioned drop curtain.
I was incredibly difficult to track down information pertaining to Cook’s early career and life in Iowa. Ansel C. Cook was the eldest of nine children born to Walter Cook (1834-1921) and Matilda Kinney (1840-1928). Ansel’s gravestone indicates that he was born in 1863. However, some historical records suggest that he was actually born in May of 1862. Ansel’s younger siblings were Aaron Tompson Cook (1864-1905), David Stinson Cook (1866-1935), Abner Branson Cook (1868-1973), William Clayton Cook (1872-1940), Edna “Elizabeth” Cook (1875-1918), Birdie Louella Cook (1878-1942), Nina Pearl Cook (1880-1943), and Esther “May” Cook (1883-1954). Of all the children, both Ansel and William became scenic artists.
The patriarch of the Cook family worked a variety of jobs, often listed as a “laborer” in census reports. However, when the Civil War broke out, he was working as a “coal digger.” Walter Cook registered for the draft on July 1, 1863, in Richland, Iowa. He was 29-yrs. old at the time, married with a pregnant wife and infant son at home. Unlike so many families in a similar situation, Walter survived the fighting and returned home to his family. After fighting in the war, he returned to Iowa where he would remain for the rest of his life.
By 1870, the Cook family had moved from Richland to Columbia, still remaining in Wapello County, Iowa. The nearest post office was located in Eddyville. The 1870 US Federal Census listed that the Cook household included: Walt (36), Matilda (39), Ansel (8), Aaron (6), David (4) and Abner (1 mth. old). Walter was now listed a working as a farm laborer.
By 1880, the Cook family was living in the nearby city of Ottumwa, residing at 415 Tenton Street. In Ottumwa, Ansel Cook was listed as a painter in the US Federal Census. By 1882, he was associated with the painting firm of Cook & Pagburn. On Dec. 24, 1882, the “Ottumwa Daily Democrat” reported, “Ansel Cook, of the firm Cook & Pagburn, is a painter of fine qualifications. He is one of the best sign painters in the city, and in addition to his qualifications in that respect, is quite a crayon artist. Yesterday a specimen of his crayon work was exhibited at his office that is hard to excel, and is certainly rarely ever equaled in this city” (page 4). I have yet to encounter any other mention of Pagburn and wonder if there was a misspelling; Ottumwa articles are rife with typos (almost like my own posts).
On April 15, 1883, the “Ottumwa Daily Democrat” reported, “The finest door post signs in the city are those in front of Mr. Nusbaum’s place of business. The work is equal to a chromo, and the skill of Ansel Cook is everywhere apparent. DuBoise is nearly as proud of the work as Mr. Nusbaum” (page 8).
His partnership with Pagburn did not last long, and soon Cook partnered with an artist from Chicago, Ernest Rotzein. On September 22, 1883, the “Ottumwa Daily Democrat,” reported, “It is with pleasure that we announce a new firm of business men in this city, Rotzein & Cook. They are both splendid workmen, and we now pronounce our verdict that they will succeed both as house, sign, and ornamental painting. They are Anal [sic. a truly unfortunate misspelling of Ansel] Cook, of this city, and Ernest Rotzein, late of Chicago. Interior decoration will be a specialty” (page 4).
Cook continued to work with Rotzein and remained in the area for the next few years. It was likely Rotzein that later lured Cook to Chicago. In the meantime, however, he married. According to a 1900 census years later, he married Nellie Cook in 1884. I have yet to locate any marriage license or filings for the union. And the 1885 Iowa State Census still listed Cook as living at home with his parents and brothers Aaron F. and David S. It is possible that 1884 was an error, made by a census reporter.
On April 15, 1885, the “Ottumwa Daily Democrat” announced, “Dissolution Notice – Notice is hereby given that the firm of Rotzein & Cook is this day dissolved by mutual consent, All liabilities are assumed by Mr. Rotzein, Mr. Cook retiring from the business” (page 4). The notice was signed Ernest Rotzein and Ansel Cook. Beneath was another announcement: “Thanking the people for past favors, I cheerfully recommend parties desiring work in this line to call up Mr. Rotzein” (page 4). It was signed Ansel Cook. This makes me wonder, if Cook left Ottumwa to get married and work elsewhere. There is a gap between 1886 and 1896 that I cannot account for in the life and career of Ansel Cook.
By 1896, Ansel pops up in Chicago. He was listed in the city directory that year, living at 187 Centre Ave. The next year, he moved to Boston, Massachusetts, where he was consistently listed as an artist for the Castle Square Theatre in the city directory from 1897-1900 and living on Follen Street.
The first mention of Cook working as a scenic artist in Boston. In an advertisement for “Erminie” at the Castle Square Theatre on September 6, 1896. Cook is credited with the scenic effects for the production.
On January 17, 1897, the “Boston Globe” reported, “The preparations for the production of ‘Lohengrin’ at the Castle sq theater are well in hand, and all indications point to a successful production of this most popular music drama. Scenic artist Ansel Cook has already in hand a complete new scenic outfit for the opera. The models for these settings are studies from those used in the original production of ‘Lohengrin’” (page 16).
Later that fall, Cook painted a new drop curtain for the Castle Square Theatre. On September 9, 1897, the “Boston Evening Transcript” described his drop curtain for the Castle Square Theatre. The article reported, “One of the features of the opening of the Castle Square Theatre for the season of 1897-89, Monday last, was the new drop curtain. This curtain was painted by Mr. Ansel Cook, the scenic artist of the theatre, and represents a woodland after a style of French forests, and might be taken for the rond-point of the forest of Fontainebleau. The trees are scattered here and there, but no brush or underwood is seen. An artistic feature of this pretty landscape is that no paths are traced amid the trees. The time the picture represents is autumn, late in the afternoon. The trees in the foreground still retain their warmth of the declining sun, while those in the distance have already a hazy hue much resembling, in coloring, the perspectives in de Chavannes mural decorations. These are five figures in the picture, two of which, both in costume and attitude, are strikingly beautiful. They represent two lovers strolling from the chateau, which is dimly seen in the distance. The costume denotes the sixteenth century, and live the truth of Mareau’s picturesque characters. The picture itself is framed by means of generous draperies and olden-times frescoing. These are of an indefinite color, and harmonize with exterior decorations of the theatre. That Mr. Cook should have found time to both conceive and paint such an artistic and truly beautiful curtain, busy as he is every week with different productions, is to be wondered at. While then, credit is due the management of the Castle Square Theatre for doing everything to please its patrons, greater credit should be given for contributing so much to the stage ensemble and beauty” (page 5).
In October 1897, Cook’s scenic art contributions were noted in the Castle Square Theatre production of “Shenandoah.” An article in the “Boston Evening Transcript” on October 30 reported, “Unusual attention has been bestowed upon the scenic and other stage effects by Messrs. Ansel Cook and Ben Craig, the great scene for the second and third acts, representing Shenandoah Valley, being a faithful study from sketches made at the time of the historical occurrences depicted in the drama” (page 1). The next day, “The Boston Globe” announced, “A clever example of model making for dramatic productions may be seen in the window of the branch office of Castle sq theater on Tremont st the coming week. It represents in detail the scenes and figures of the principal picture in the third act of ‘Shenandoah’ and is an excellent example of the clever work done by Mr. Ansel Cook, the scenic artist of the Castle” (page 22).
Cook’s work with Ben W. Craig at the Castle Square Theatre from 1896 to 1902 included, “The Ensign,” “Captain Swift,” “Rosedale,” “The Heart of Maryland,” “The New South,” “The Prisoner of Zenda,” “Caste,” “Men and Women,” “Mignon,” “Tannhäuser,” “The Prodigal Daughter,” “Darkest Russia,” “A Social Highwayman,” Cumberland 61,” “Col George of Mt. Vernon,” “Nell Gwyn,” “Cyrano de Bergerac,” “The Little Minister,” “Jim the Penman,” and “Quo Vadis.”
By 1905 Cook moved from Boston to Chicago, establishing the Ansel Cook Studio and advertised as “Designer, Originator and Constructor.” His firm was located in room 60 of the Grand Opera House Building.
One advertisement placed by Cook in “White City Magazine” gives some insight into some of Cook’s between 1902 and 1905. The ad stated:
“Now engaged in preparing the $60,000 reproduction of the CITY OF VENICE. Also, the $50,000 scenery for the SCENIC RAILWAY at WHITE CITY, Chicago. Designer and Constructor of the famous COAL MINE IN MINIATURE for the Fairmount Coal Co. of West Virginia (Highest Award), and the wonderful exhibit of the Davis Colliery Co. of West Virginia (Gold Medal), at the Louisiana Purchase Exposition; the two principal features and most popular exhibits in the Mines and Metallurgy Building. Designer and Constructor of the Mural Decorations for the Dome of the State Capitol Building at Topeka, Kansas.”
Cook’s work for the White City Amusement, “Venice,” in 1905 was featured in “White City Magazine.” Venice was advertised as “a romantic gondola ride through the moonlit water streets of Venice; viewing correct reproductions of her famous buildings and statuary groups.” It was a water ride that purportedly included 90,000 square feet of painted panoramas depicting the sites of the city, Venice.
In a 1905 promotional book, entitled “White City Magazine,” Cook’s painting for the attraction was described in detail:
“SCENERY FOR BEAUTIFUL VENICE.
AN ENORMOUS QUANTITY OF IMPORTED CANVAS REQUIRED FOR MAKING THE PERSPECTIVE VIEWS
Ansel Cook, one of the most famous scenic artists in the United States and whose work is to be found in every first-class theatre, states that more canvas was required for constructing the perspective views which adorn the interior of Beautiful Venice, than was ever before used for any scenic work under one roof. Almost 10,000 yards of Russia sheeting, about 90,000 square feet, was imported direct from Russia because no dealer in this country could supply this enormous quantity. The canvas was used for the reproducing of scenes in Venice through which appear at a distance from the passenger in the gondola. That part of Venice through which the half mile of canals pass is actually built so that real palaces, groups of statuary, etc., are brought to view at every turn of the winding waterways, but the interior walls are hung with enormous panoramic paintings which carry out the effect for a distance of several miles.
In painting these panoramic views, Ansel Cook required the services of six associate artists and a small army of assistants. Their work lasted for a period of four months, during which time the entire force was kept busy practically day and night. The utmost care was exercised in order to give a perfect reproduction of Venice architecturally and in the color scheme. During a recent visit to the city of Venice, Mr. Cook carefully studied the details of ornaments, cornices and mouldings used on the buildings which have been reproduced for White City and he has correctly carried out the original designs in his work.
The wonderful perspective view of the Grand Canal, one of the most magnificent paintings ever produced on canvas, is about 30 feet high by almost 200 feet long. The size of this for an individual painting has rarely been exceeded. Particular care was taken to reproduce the animation and spirit of the busy scene presented to the sight-seer along the Grand Canal, with its host of gondolas, fishing boats with their bright colored sails, fruit barges, etc. Visitors to White City who experience the delights of a gondola ride through Beautiful Venice, will marvel at the life-like reproductions of these historic scenes, while those who are familiar with artistic efforts, will not hesitate to make frank acknowledgment of the excellence of the reproduction.”
On September 2, 1905, Cook’s operatic contributions were also featured in the “Minneapolis Journal” (page 14). He was credited with producing the painted backings for Lorenzo Perosi’s La Risurrezione di Cristo, the Resurrection of Christ, at the Minneapolis Auditorium in 1905. Perosi’s oratorio was part of the Banda Rossa program performed at the Auditorium during State Fair week, and included Gina Ciaparelli (soprano), Bessie Bonsall (contralto), Albert Quesnel (tenor) and Salvatore Nunziato (baritone) for the solo parts. The article noted that Cook’s painted compositions included “Mary at the Tomb, the meeting between the Savior and Mary Magdalene, the meeting of the Saviour and the Disciples on the Road to Emmaus, the Savior in the Multitude and the Ascension Scene.” On September 3, 1905, an article in “Minneapolis Journal” further detailed, “As the music progresses, these views, each 30×40 feet, with the wonderful electric lighting effects, are dissolved one into another. The effect is intensely interesting, and the mind, acted upon alike by the music and the pictures, is almost overwhelmed by the reality, the beauty and the solemnity of the scenes thus depicted by tone and brush…These are exquisite works of art and when lighted by the different electrical devices used in their presentation are wonderful, beautiful, and fantastic, illuminating the music as it progresses”(page 31).
It was in 1906 and 1907 that Thomas G. Moses mentioned Cook periodically managing Sosman & Landis’ annex studio. By 1908, Cook was offered work in California.
On July 27, 1908, the “Los Angeles Times” reported, “Ansel Cook, late scenic artist for Henry Miller, has just been engaged for the same position at the Belasco Theatre here. ‘The Great Divide’ settings were made by Mr. Cook. He was for six years with the Castle Square company of Boston” (page 7). In the August issue of “Billboard” that year, Cook was also credited with providing new scenery for Weyerson & Clifford’s Southern Thorne and Orange Blossoms Company (Vol. 20, page 25).
Cook’s work for the Belasco Theatre continued to make headlines. On September 30, 1908, the “Los Angeles Times” announced, “The Belasco Theatre has a new scene painter, Ansel Cook. He has the reputation of being one of the best in the country. His ‘Exterior of the Black Snake Ranch,’ in Acts II and III, is a Texas landscape, beautiful in color, and one of the most effective backgrounds ever seen on the Belasco stage.” In November, Cook painted new scenery for the Belasco Theater’s production of “Old Heidelberg.” On Nov. 1, 1908, the “Los Angeles Times” reported, “As Ansel Cook has painted entirely new scenery and appropriate sets, the production should prove a truly notable one from every standpoint” (page 25).
Cook was still working as an ornamental painter at this time, keeping himself employed between productions at the Belasco Theater. On Dec. 13, 1908, the “Los Angeles Herald” credited Cook with decorating the green room at the Belasco Theatre in Los Angeles, describing, “The green room now presents a very different appearance, being artistically decorated in green, maroon and gold, with beautifully decorated ceiling, executed by the clever artist, Mr. Ansel Cook” (page 32).
Cook was still listed in the 1909 “Los Angeles Directory.” However, he was now listed as an artist at C. F. Thompson Scenic Co. This was the newly incorporated scenic concern established by Charles F. Thompson. C. F. Thompson Scenic Co. originated in Chicago, and was operating by 1900. In 1909, the C. F. Thompson scenic company delivered a new drop curtain to the Home Theatre in Hutchinson, Kansas. On January 22, 1909, the “Hutchinson Daily Gazette” described the composition: “The center is a redwood scene with stage coach and a group of horsemen approaching a watering place” (page 5).
Between 1910 and 1914, Cook fades from radar again. By 1915, however, he has moved to the East Coast where he continues to work as a scenic artist. The 1915 New Jersey State Census listed Ansel Cook, now widowed, was working as a scenic artist and living with John B. Cook, Charles B. Cook, were J. Heiner, John L. Hoag, and Fred W. Kopke. They were all living in North Bergen Township. Interestingly, John B. Cook was also listed as a scenic artist. That being said, I do not know if there were any familial ties between Ansel, John and Charles. Distant cousins maybe, or did they just share the same common last name? It actually makes me wonder if this was the correct Ansel Cook, yet he passed away in Manhattan a year later.
Ansel Cook died on February 23, 1916 in Manhattan. He was listed in the New York extracted death index, yet the database listed his passing as Feb 24, 1916. It is hard not to think of Art Oberbeck’s comment about Cook decades later: “Oh, he was a genius. All his work was just so tremendous. And he died drunk in the back room of an old dump in New York. He was an awful drinker.”
Cook’s obituary was published in the “Ottumwa Tri-Weekly Courier” on Feb. 29, 1916: “Ansel Cook. The remains of Ansel Cook who passed away in New York, early Friday morning, arrived in this city Sunday morning, The funeral services were held this afternoon at 3 o’clock from the residence of his parents, Mr. and Mrs. Walter Cook, 427 Church Street, and were conducted by Rev. D. CX. Smith and Rev. Isaac Bussing. Interment took place in Ottumwa Cemetery.”
To be continued…
