Copyright © 2021 by Wendy Waszut-Barrett
Joe Hart was a scenic artist at Sosman & Landis in 1891. He was mentioned by Thomas G. Moses that year as one of his crew painting on site in Duluth, Minnesota. This is not the same Joseph Hart who established the well-known vaudeville act, Hallen & Hart.
Joseph Henry Hart was born on Sept. 16, 1859, in Philadelphia, Pennsylvania. He was the son of Patrick Henry Hart and Amelia Giltrap. His parents were married in Ireland and started a family before emigrating to the United States. They were on November 21, 1841, in Manchester, England. The son of a tailor, Patrick Hart was working as a dyer at the time. Their oldest son John was named after his paternal father John Hart. Their second son, George, was named after his maternal grandfather, George Giltrap, a farmer by trade. Patrick, Amelia, John and George emigrated to the United States and settled in Philadelphia, Pennsylvania where Joseph H. Hart was born.
The 1860 census listed the Hart family as including Patrick Hart (head, 42 yrs. old), Amelia (wife, 40 yrs. old), John (b. 1840, son, 19 yrs. old), George (son, 17 yrs. old) and Joseph H. (son, 2 yrs. old). I have yet to locate any other children born in the years between George and Joseph, c. 1843-1860.
The Hart’s were still in Philadelphia in 1862, when Joe was baptized that January at St. Mark’s Episcopal Church in Philadelphia. Shortly after the Civil War broke out, Joe’s father enlisted in the Union Army and was mustered out that summer in the 143rd Pennsylvania Infantry. He returned home that fall and was working as a watchman by 1863.
In 1863, only Patrick and George were both listed in the Pennsylvania, U. S., Septennial Census, Patrick as a watchman and George as a laborer. I have not been able to locate any record of John in Philadelphia after the Civil War.
By the age of eleven, Joe and his parents moved his to Chicago. His older brother George was married by this point and remained behind. The 1870 US Federal Census listed George and Sarah Hart, were living on 12th street in Philadelphia.
The same census listed Joe as a student and his father as a “Merchants Police” in Chicago. Patrick Henry Hart was also included in the “Chicago City Directory” that year, listed as a “mer. Policeman,” living at 202 Polk in Chicago. Interestingly, the “Chicago Directory” also included a listing for a John Hart, working as a painter and living at 93 Mohawk. It is possible that Joe’s eldest brother was the first to move west, but there are SO many Harts that it is very difficult to pinpoint the exact one.
Little is known of Joe Hart’s early life in Chicago. By 1877 he was working as a painter, listed in the Chicago Directory as living at 145 Johnson. He would have been seventeen years old at the time, and likely just entering the trade after attending public school. By 1878, he was listed as a scenic artist, now boarding at 14 Sholto. Five years later, he would still be listed as a scenic artist living on Shelto, but the house number changed from 14 to 11 over the years.
Sometime before 1876, Joe’s father passed away; I have yet to locate a death certificate. By 1880, however, the census listed Hart briefly living with his widowed mother at 260 Harrison St. in Chicago. As an itinerant artist, Hart worked throughout the region. The earliest mention that I have located of Hart’s scenic art work was in Topeka, Kansas, that year. He was painting stock scenery for the Topeka Opera House and became quite popular with the young people in town.
On August 20, 1880 the “Topeka State Journal” announced, “Scenic Artist’s Surprise” (page 4). The accompanying article reported, “Since Joe Hart, the scenic artist of Crawford’s new Opera House, came to Topeka he has grown to be wonderfully popular with our young folks, especially the ladies, and it is plain to be seen that he already holds a very enviable position in the affections of two or three of the select. While Joe was taking it easy last night before last after a hard day’s work, he was never more agreeably surprised in his life than when eight or ten young ladies and gentlemen all rigged up in their fanciest attires made their appearance at the hotel and inquired for him. Of course, Joe had to go with the crowd and the last seen of him before the latest hours of the night he vanished away in the soft moon light with a gentle Annie hanging to his arm. They went to the residence of one of the parties and enjoyed a delightful evening in his honor.”
Hart finished the project that fall. On Nov. 4, 1880, the “Weekly Kansas State Journal” reported, “STAGE SCENERY” (page 1). The article continued, “Nothing adds so greatly to the fine effect of an Opera House as the beauty, style and variety of its scenery. In this respect Mr. Crawford congratulates himself on having the most complete, latest improved and ample sufficiency in his new house of any theater west of Chicago. All the show people who have been here say so. For all this much of the credit is for Mr. Joe Hart, the scenic artist, who has done his work. Fourteen weeks ago, he slung the first paint. To-day the last stroke was made, the finishing touch put on, the brush thrown aside, the job pronounced finished and to-night leaves for Chicago. During all this time the drop curtain, the flies, the wings, and fifteen sets of scenery have been painted. Among them are some elegant pieces of architecture showing non but skilled minds and trained hands performed any of the labor. For instance, there is the three-arch chamber, double door chamber, centre arch chamber, all fancy parlor; the kitchen, prison, greenroom and landscape that are not surpassed anywhere for attractions of finish and beauty of style. Then the drop curtain itself is worth the praise of any artist’s skill. Mr. Hart is a true and honorable knight of his profession, and leaves behind him a monument of his abilities as an artist that will be admired long after he has climbed the golden stair. He has also made a great many friends with the young folks of Topeka by being a genial, sociable, and courteous gentleman. Should Sells Bros., or anybody else build an Opera House in Topeka, the JOURNAL will be pleased to recommend to them as a No. One scenic artist the name Joe Hart.”
The opera house in Topeka was one of many operated by L. M. Crawford. Hart continued to paint for Crawford the next year. On June 25, 1881, the “Topeka State Journal” reported “L. M. Crawford returned home this morning from Chicago, and expressed himself enthusiastically on the future beauty and elegance of his opera house, He has engaged the celebrated J. M. Wood to do the interior designing and decorating, and being one of the finest artists in the country he has promised Mr. Crawford a job that can’t be beaten, Joe Hart the scenic artist who painted the scenes for the new old house, was reengaged to do the same work for this house.
J. W. Wood compiled a theatre scrapbook, dating from 1880-1889, now part of the Kansas Memory project collection. The descriptor for the artifact notes, “This scrapbook, compiled by J. W. Wood, contains programs, clippings, illustrations, and other memorabilia of the theaters and performers in Topeka, Kansas, in the 1880s. There are two photographs of the Grand Opera House, which was located at 615 SW Jackson Street in Topeka, and most of the programs are from their productions. A theatrical date book for the Grand Opera House covers the 1884 and 1885 season. These items belonged to Jay House.” This is an extraordinary collection that gives so much insight into the variety of touring productions at this time.
Here is the link: https://www.kansasmemory.org/item/442684
Hart was still working as a scenic artist in Chicago during 1883, living at 11 Sholto. His mother, Amelia Hart, was now living at 44 Miller. Around this time, Joe Hart is listed on a marriage record, dated Feb 1., 1883, Milwaukee. Unfortunately, the digital record does not list the name of his wife. I believe that this is the same Joe Hart, however, as he soon begins listed as a scenic artist in Milwaukee. Interestingly, there is a later marriage announcement for Joe H. Hart and Lizzie Tipping, both of Chicago, by 1885. It was listed in the “Chicago Tribune,” on Feb 10, 1885 (page 8). I have uncovered very little about his first marriage, only that by 1908, he was listed as “divorced’ when married that year. Regardless, he continued to work in both Milwaukee and Chicago from the mid-1880s to mid-1890s.
In 1887 Joe Hart was working as a scenic artist in Milwaukee, associated with the Grand Opera House and living at 156 Huron. He remained in Milwaukee for quite some time and soon became associated with the new Academy of Music. On April 6, 1888, “The Inter Ocean” reported, “Milwaukee, Wis., April 7 – Special Telegram – H. H. Theile, leader of the New Academy Orchestra, has finished his new opera, “Fort Caramel; or Love in Leap Year,” and will give the initial production at the New Academy April 13 and 14…The stage settings will surpass anything seen here this season, especially the fort scene, that being the work of Joe Hart, scenic artist of the new Academy. In this scene will be used beautiful palms and tropical trees and plants, being appropriate as the story of the opera is laid on the coast of Florida” (page 9).
In 1891, he was working with Moses, Loitz, and Buhler in Duluth, Minnesota. It was a project for Sosman & Landis. On July 11, 1891, the “Duluth Evening Herald” specifical noted the work of Moses, Buhler and Hart.
In 1891, Thomas G. Moses wrote, “Mr. Landis and I went to Duluth, Minnesota, and closed a contract for $8.954.00, which is a very good price and a good-sized job. My work kept me at the studio until March 24th, when I left for Duluth and the Lyceum Theatre, a very fine building. I found a good hotel in the Spaulding and soon got started on a fine list of scenes. Loitz and Joe Hart were with me, and we had every convenience that enabled us to do good work in a short time. Mr. Miller the owner, started to work on a railroad section as a boss – saved and invested years ago. He is now worth over $12,000,000.00 which all came from Timber Land. He is also the President of the Duluth Bank. He was a fine man and enjoyed being with me. The weather was bitterly cold, but we all enjoyed it. We worked nearly every night. We had a big list of scenes and everything had to be done well! Nothing pleased us better that to know that our work would be mentioned years after. One of the most complete outfits of any theatre. We completed this work on June 1st and I received a check in full. Something unusual.”
Joe Hart was also included in “A Biographical Dictionary of Scenographers 500 B.C. to 1900 A.D.” Here is the entry for Hart:
“Hart, Joseph (fl./ 1892), Grand Opera House, Los Angeles, CA, U.S.A. Assistant scene painter to JOHN H. YOUNG for The Ensign, performed at the cited theater on September 15, 1892. Bibliog. 097, playbill, page 288.” Hart would have met Young during the late 1880s in Chicago. By the end of 1888, Young moved to New York and was listed in the 1889 New Rochelle Directory as an New York artist, working at 541 W. 21st In the 1891 and 1892 directories listed Young was listed as a scenic artist at 1445 Broadway, living in Pelhamville, New York. This did not mean that Young was only working in that area or region of the country. His studio may have been located at the Broadway Theatre in New York, but like all other scenic artists, he would have traveled for work. So, in 1892, Young traveled to California and worked with Hart at the Grand Opera in Los Angeles. Both continued to work as itinerant artists, going wherever work was available, but establishing their home residence in a large metropolitan area.
From 1893 until 1896 the Milwaukee City Directory continuously listed Hart as a scenic artist, living at 691 30th. During the early 1890s, Hart continued to live and primarily work in the Midwest. By the late 1890s, Hart relocated to New York and established his own partnership – Hart & Becker. I have yet to identify which Becker Hart was working with at this time; there were quite a few scenic artists with the last name of Becker painting at this time. Although it was short-lived, the two worked alongside some of the best-known artists in New York at the time, including former Sosman & Landis artists John H. Young, Edward Morange and Frank Gates. Hart, Young, Gates and Morange had all relocated from Chicago to New York within a few years of each other.
On October 21, 1899, the “Buffalo Review” listed the scenic artist’s credited with painted settings of “McFadden’s Row of Flats” (page 5). Hart & Becker were listed with Gates & Morange. This was a touring show that appeared at multiple venues across the country, with mechanical effects delivered by Hagan & McDonald. On Nov. 12, 1899, the “Buffalo Times” also listed Hart & Becker as the scenic artists who painted scenery for the “Green Room Fun” at the Star Theatre (page 24). The article reported, “The scenery was made by Claude Hagan of the Fifth Avenue Theater studio, New York, and was designed and painted by Messrs. Hart & Becker.”
Hart & Becker were still working together a year later. On January 14, 1900, the “Buffalo Courier” listed Hart & Becker’s scenic art contribution for “The Sporting Duchess” at the Star Theatre (page 21). The article reported the involvement of several New York scenic artists scenic artists, including John H. Young, Joe Physioc, Ernest Albert, Homer Emens, Gates & Morange, Platzer, and Hart & Becker.” Hart eventually left his partnership with Becker to paint for Gates & Morange. He was working for the firm when his name made the newspapers in 1908.
On June 7, 1908, the “New York Times” reported, “WEDDED TO A SCENIC ARTIST” (page 4). “Miss Ross’s Ostensible Visit to Washington Really a Marriage Journey.”
The article continued:
“We have been married. Will be home the first of the week,” was the message which Mrs. William Caire of 40 West 128th Street received last night from her sister, Miss Grace Elinor Ross, who went to Washington, D.C., a week ago. Ostensibly to visit friends there. That the young woman intended to become the bride of Joseph H. Hart, the principal scenic artist in the Gates-Morange studio, at 155 West Twenty-ninth Street, was never suspected by her sister, although Mrs. Caire knew that Mr. Hart was to be in Washington and that he wired to Miss Ross to come to Washington while he was there.
“Grace and Joe had been engaged for about a year,” said Mrs. Caire last night. “Mr. Hart had been doing some work in Richmond, Va., for the last month or so, and recently completed it, He has to stop in Washington on his way home, and, as his wedding to my sister was to have taken place shortly, anyway, I suppose they decided it might as well be in Washington.” The Washington D.C. compiled marriage index gave the following information: He was divorced , age 45, with birthdate of 1863. The marriage took place on June 6, 1908. Grace E. Ross was single, white, 30, with birthdate of 1878. Their license was published on June 9,m 1908 in the “Washington Herald. “Joseph Hart, 45, and Grace E. Ross, 30, both of New York City. Bishop F. M. Bristol.
Hart continued to work as a scenic artist in New York for at least another decade before returning to Chicago. He is quite difficult to track in the years following WWI. I have yet to locate any listing for him in either the 1920 or 1930 census reports. Joseph H. Hart died on Sept. 17, 1939, in Chicago. He is buried at Elmwood Park Cemetery, River Grove, Cook, Illinois.
To be continued…
