Copyright © 2021 by Wendy Waszut-Barrett
George Schultz was a scenic artist at Sosman & Landis in 1911, although he may have worked sporadically worked for the firm since the 1890s. In 1911, Thomas G. Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Sosman & Landis’ main studio was located on Clinton St. The 20th Street Studio was a secondary space that primarily focused on specialty projects, such as Masonic scenery.
Schultz is primarily remembered for his easel art, especially his landscapes and marine scenes. Like many scenic artists, he began his career in ornamental arts. Purportedly, his was employed as a “decorative painter” by the age of fifteen, painting pieces of china. Although this is noted in the majority of biographies about Schultz, I have yet to locate any information pertaining to a specific company at this time.
Schultz was born on April 17, 1869, and grew up in Chicago. His parents were Walter E. Schultz and Elizabeth Moizen. He was the eldest of three sons born to the couple. His younger brothers were Charles and Walter Schultz Jr. As a young child, his family’s household also included a grandmother, Anna Regnery.
By 1880, the US Federal Census listed the Schultz family as living in at 339 N. Franklin St. His father was employed as a bookkeeper that year, with George listed as a student. He was the the only child old enough to attend school at the time. The household now included a different maternal grandmother, Sarah Mazin.
After attending public school, Schultz began to take classes at the Art Institute of Chicago. By 1888, the Chicago City Directory, listed his occupation as an artist. At the age of twenty-one, he was living on his own at 2163 Archer Ave. Between 1889 and 1925, Schultz exhibited over one hundred works at the Art Institute of Chicago Annuals. Like many scenic artists at this time, he joined numerous fine art organizations, and was a member of the Palette & Chisel Club, the Municipal Art League of Chicago, the Arche, the Cliff Dwellers, the Union League Club, and the Chicago Water Color Club. Schultz was a charter member and later president of the Water Color Club.
He was featured in the “Chicago Tribune” on January 18, 1891: “George F. Schultz, a young water colorist who, when he goes to nature for inspiration frequently does some remarkably clever things, has taken a studio in the Japanese Building” (page 12). The Japanese Building was located at the corner of State and Jackson Street, with dozens of suites for artists and musicians. Schultz also exhibited his work at O’Brien’s Gallery in 1892, and by 1893, partnered with William Wilson Cowell to operate a studio on Rush Street. On April 23, 1893, the “Chicago Tribune” announced “Messrs. Cowell & Schultz have their establishment on Rush Street a number of their recently finished water-colors. Some marine views are cleverly executed, especially showing a number of fishing boats at anchor on a misty morning. Two landscapes by Mr. Schultz are especially pleasing. Both are evening scenes, one a gray effect and the other a sunset” (page 37).
He married Katharine Karr Hagenlotha (1869-1942) on Sept. 20, 1893. The couple celebrated the birth of four children between 1894 and 1907; three daughters and a son. His children were Beatrice M. (1894-1982), Katherine (1899-1940), George Jr. (1899-1940) and Florence (1907-1990). As his family grew, so did his reputation as an easel artist.
In the 1890s, Schultz’s artistic career began to soar. He was featured in a solo exhibition at Thurber’s Gallery in 1896, again exhibiting at there in 1898. Regional sketching trips included Delavan, Wisconsin, the coast of Maine (Monhegan Island), Indiana and even Mexico. On Feb 16, 1896, “the Chicago Tribune” reported , “Last summer he visited Monhegan Island, the favorite resort of Edwards. Triscott, and other Eastern artists, away up on the Maine Coast. Most of the pictures he now shows are Monhegan views and the result of his sojourn. Many are coat scenes. In nearly all rocks abound, and Mr. Schultz has been eminently successful in catching the effects of sun and shadow on sea and land and rocky shore. One of the pictures, “A Misty Morning,” the artist calls it, is a really powerful bit of color work such as is rarely attained with aquarelles. The sun breaking through the mist and the softened aspect of the rocks are presented with such strength as many a man would have difficulty showing in oils” (page 28).
On April 10, 1898, the “Chicago Tribune” advertised his twenty-five paintings on exhibition at Thurber’s, including “Gray Day, “ “Along the River,” “Hoeing Cabbages, “A Lowery Day,” “Quietude,” and “Morning” (page 43). An illustration of “Hoeing Cabbages” even accompanied the article.
Although primarily known for his watercolor studies, Schultz also worked in oils. An article in the “Inter Ocean” commented on Schultz’s “delicate, loose and pleasing” technical skill.
In 1902, Schultz’s work “Fishing House” was exhibited at the Municipal Art League of Chicago’s annual exhibition, That same year his “Reflections” was featured in the March issue of “Brush and Pencil.” By 1906, artworks by Schultz were accepted as part of the Palette and Chisel Club’s permanent collection. His membership in the Club bought him into contact with numerous scenic artists at Sosman & Landis, including Thomas G. Moses. The next year, Schultz’s paintings were featured in a solo exhibition at the Art Institute, and he became a charter member and secretary of the Chicago Water Color Society. He was later elected as the club’s president in 1912.
The 1910 US Federal Census lists the Schultz family living at 1158 Perry Street, listing Schultz as an “artist” who worked in the “picture paint” industry. In 1911, Schultz was listed as the secretary for the Chicago Society of artists. Fellow scenic artist Frank C. Peyraud was also an officer in the organization at the time, both working at Sosman & Landis. Despite success as easel artist, both continued to paint for the stage. Again, in 1911, Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Schultz is no different than the hundreds of scenic artists at this time who were recognized for both their easel art and stage art. It was advantageous to live with one foot in the fine art work and the other in the theatre industry; a mutually beneficial situation, joining networks and resources from the two worlds. The promotion of these two compatible careers had already been recognized in the 1880s when the first Scenic Art exhibition took place, publicly recognizing the work of scenic artists as fine art.
On April 30, 1913, “The Dispatch” of Moline, Illinois, reported, “Rock Islanders who are much interested in art will find a fine display at the Harper House which includes about sixty canvases by leading American artists. The collection was sent by the Artists’ Guild of Chicago for the purpose of promoting art and encouraging a keener interest in the works of American Painters” (page 3). The show was advertised as “direct from the Fine Arts building of Chicago.” It not only included the work of Schultz, but also another former Sosman & Landis scenic artist Frank C. Peyraud. In 1913, he painted a lovely picture of his daughter Beatrice. It recently sold at Brunk Auctions for $2,016, much more than the estimated $1,000-1,500.
He exhibited “Converse with Nature’s Charms” at the Carnegie International in 1914, also exhibited at the Iowa State Fair that year in the newly constructed women’s and children’s building on the fairgrounds. In 1916 and “The Voice of the Brook” at the Pennsylvania Academy of the Fine Arts in 1916. On May 19, 1918, the “Chicago Tribune” reported, “the William H. Tuthill prize of $100 was awarded to George F. Schultz for his marine “Surging Seas.” The prize was limited to a Chicago artist and to a pure water color, as Mr. Tuthill wishes to encourage the medium. The painting shows an angry, restless seas hurling itself in vain attacks against a rock guarded shore from which is it thrown back again and again with increasing violence till over the green hunger of the tide a cloud of white foam is cast breaking back on itself in feathery masses” (page 47). That same year, a solo exhibition of Schultz’s work was presented at the Marshall Field and Company department store in Chicago. This is supposedly his last-known solo exhibition. I am skeptical as the art historians who state this also cite an incorrect year for his passing.
By 1920, the couple was still married and living in another rental home at 4013 Green View Ave., still listing Schultz’s profession as “artist” in the “professional” industry. Their children were still living at home, with Beatrice working as a clerk in the Oil Concern industry, the younger Katherine working as a stenographer in the Building Waters industry, and George Jr. working as a tire-maker in the automobile Pates industry. The youngest child, Florence, was still listed as attending school.
Within the next ten years, everything changed for Schultz. His marriage falls apart, he moves out and his children remain with his ex-wife who does not acknowledge the separation; her husband just fades from the familial picture.
The 1930 US Federal Census for George Schultz listed him as a divorced male, “working on account” as an artist. He was now living in a rental unit at 1521 Warren Boulevard. Meanwhile, his wife Katherine was still listed as married, now listed as the head of household, living at 1900 Newport Ave. in Chicago. George F. Schultz Sr. is no longer at home. Her household was listed as including her son George Jr., daughter Florence, daughter-in-law Yvonne Schultz, Son-in-law Owen M. Roubadeaux, daughter Beatrice M. Roubadeaux, granddaughter Florence M. Roubadeaux, and a boarder named Henry J. Benallack.
Although many art historians, fine art galleries and online sellers list his death as 1934; this is simply incorrect. This is the problem with cut-and-paste biographies; an incorrect statement is repeated so much that is becomes accepted fact. In actuality, George lived until 1950. In May 1939, George Frederic Schultz applied for Social Security. The next year, he was included in the 1940 US Federal Census. At the time of the census report, Schultz was 70 yrs. old and still employed as an artist in the “Landscape picture painting” industry. He was living in a multi-unit building at 1454 Sedgwick St. in Chicago, by himself. He lived for another decade, outliving his ex-wife by eight years. My guess is that he became estranged from his family over the years.
His wife Katherine passed away on September 22, 1942. Her obituary was published in the “Chicago Tribune” on Sept. 24, 1942 (page 26): “SCHULTZ – Katherine Karr Schultz, Sept. 22, loving mother of Mrs. Beatrice Roubadeaux, Florence, and the late George Schultz, and Mrs. Katherine Eger, fond sister of Mrs. Rosalie Willistein. Funeral Friday afternoon at 2 o’clock from funeral home, 6216 N. Clark st, to Graceland.”
Schultz passed away on Sept. 5, 1950. His obituary was published in “The Chicago Tribune” on September 7, 1950 (page 22):
“SCHULTZ – George F. Schultz, 1434 Sedgewick street, Sept. 5, 1950. Beloved husband of the late Kathryn Schultz, fond father of Beatrice Roubadeaux and Florence Schultz, brother of Charles H. Schultz. At chapel, 2121 W. 95th street, where services will be held Friday, Sept. 8, at 11 a.m. Interment Mount Hope.”
To be continued…
