Copyright © 2021 by Wendy Waszut-Barrett
William P. Davis worked as a scenic artist at Sosman & Landis in 1881. That year, Thomas G. Moses wrote, “I had to go to Richmond, Indiana, this summer, Will Davis was with me. We had a pleasant time while there.” In Richmond, the two were painting scenery at the newly refurbished Grand Opera House. On September 19, 1881, “The Evening Item” of Richmond reported, “The scenic work was completed by Sosman & Landis of Chicago with Thomas G. Moses painting the drop curtain.” The stock scenery delivered by the firm included: “four wings; one set plain chamber, four wings; one kitchen, and one prison, each four wings; one wood, six wings; one landscape, one perspective street, one rocky pass, one horizon, one ocean, one garden, one grand drapery border, one set tormentor wings and doors, three drapery borders, two kitchen borders, three foliage borders, one set cottage, one set bridge, four set rocks, one tree, two set waters, one foreground, one garden wall, one balustrade, two statues.” Davis continued to work for the firm, evening running a regional branch in Kansas City, Missouri, with Lemuel L. Graham until 1886.
Two decades later, Davis was recognized as a founder of the Twin City Scenic Studio of Minneapolis. Davis’ life and career are fascinating, yet so little information is known about his early childhood in Brockton, New York, or his final years in Seattle, Washington.
I’ll start at the beginning…
William P. Davis was one of three sons born to Hartwell C. and Elizabeth A. Davis in Brockport, New York. For geographical reference, Brockport is approximately nineteen miles due east of Rochester, New York, situated along the Erie Canal. William was the second child born the couple. His elder brother, Charlie P. Davis, died at the very young age of only four years old in 1853.
William was the second child born to the couple in 1853, and Edwin arrived five years after that in 1858. Both Will and Eddie would become scenic artists, spending much of their lives together. Both of their lives and careers would end in Seattle. Little is known of their early life in New York beyond a few federal and state census reports. They lived in the town of Sweden, located only a few miles from Brockport. Both towns are now considered part of the Rochester metropolitan area.
In 1855 New York State Census reported that the Davis household included H. C. Davis (32 yrs. old), Elizabeth Davis (26 yrs. old) and W. Davis (2 yrs. old). Although somewhat illegible, H. C. Davis’ occupation appears to be that of a carriage painter. However, his employment changed from one census report to the next, In 1860 his occupation was listed as a gardener and in 1865 he was working as an attorney. Only four year after that, at the age of 46 yrs. old, he passed away.
By 1869, Will Davis had moved west to Chicago and was working as a scenic artist, living at 366 Clark St. At the time, he was only sixteen years old. On June 24 of that year, his father passed away, leaving behind a widow and two sons. Eddie was only eleven years old at the time. It remains unclear whether his father’s passing prompted Will Davis’ to move to Chicago, or if he had left beforehand. Regardless, the 1869 “Chicago Directory” listed William Davis as a scenic artist, living at 366 Clark St. H. C. Davis was buried at High Street Cemetery in Brockport. Interestingly, probate records show that his will was written just five days before his passing on June 19, 1869, witnessed by John A. Satta and Henry C. Hammond.
Will Davis continued to work as a scenic artist in Chicago while his mother and brother spent the next few years in Sweden before selling the family home. Advertisements were placed in the “Brockport Republic” on August 6 and 15, 1872, listing the sale by “Mrs. H. C. Davis.” Their property was located on the corner of Erie and Perry Streets, just a block away from the Erie Canal. After the family home was sold, Elizabeth and Edwin moved west to live with William in Chicago.
By 1880, Elizabeth, William and Edwin were all living at 612 Fulton Street. William was still working as a scenic artist, with Edwin now employed as a printer. This arrangement only lasted for a few years. In 1883, Davis was living by himself in Hyde Park, Illinois. Work continued to draw Davis throughout the region, and he went from one project to another.
On March 2, 1884, he was credited with painting the new drop curtain for the Grand Opera House in the “ Saint Paul Daily Globe” (page 4). The article detailed the inspection of his work by Manager L. N. Scott, Commodore Davidson, and a few newspaper men. The article reported, “The design is oriental, and the idea has been beautifully executed. The scene represented by the picture which occupies the center foreground in from Moore’s poem of Lalla Rookh. The eye is first directed to the royal barge, which is represented with set sail and flying pennons as it enters the enchanted vale of Cashmere, where the princess is to meet her royal lover. On the deck of the barge is the princess and suite, while in the background may be seen the glittering palaces and towers of Cashmere, with steeples and minarets. The picture is done in grays and the effect is therefore subdued, it evidently being the intention of the artist to compliment the rich and beautiful effects of draperies at the sides. The effect here is beautiful and striking in the extreme. First may be mentioned the fluted arch which encloses the full-length picture of the barge as if in a medallion. The arch is Moorish in design and is supported by four columns on either side; at the base of the columns are blocks of marble surmounted by tripods which to carry out the oriental effect, exhale perfume. At the sides are rich and magnificent draperies which fall in graceful folds, being done in colors of green, scarlet and gold; the draperies are ornamented with a band or border of red, green and gold plush. The effect is sumptuous and indescribably rich, the artist having seemed to lavish his utmost opulent powers of the colors of the draperies, and the combination is harmonious to a degree. This magnificent accessory to the beautiful temple of Thespis gives a finishing touch and a look of completeness to the house hitherto wanting. As the curtain was painted by Mr. W. P. Davis, a young artist whose services were procured by Messrs. Beck & Rank of this city. The new drop curtain will be seen by the public for the first time next Wednesday night on the occasion of the performance of the ‘Pirates of Penzance’ by the Stillwater Choral union.” Here is a lovely article about St. Pauls’ Grand Opera House written by Janet Meyer on Aug. 24, 2020: https://www.minnpost.com/mnopedia/2020/08/the-short-grand-life-of-st-pauls-grand-opera-house/
By 1885, Davis moved south to Kansas City, Missouri, where he partnered Lemuel L. Graham to establish the scenic studio of Graham & Davis. In addition to running their own studio, however, the two also ran the regional branch of Sosman & Landis. In addition to contracting their own work, they worked as subcontracted for regional projects secured by Sosman & Landis. The 1885 “Kansas City Directory” listed William P. Davis as a scenic artist, associated with the firm of Graham & Davis. At the time Davis was boarding at Nivision House. One of their earliest projects was painting scenery for the Gillis Opera House in Kansas City. Other project completed in 1885 included scenery for theaters in Dodge City, Kansas, St. Joseph, Missouri, Champaign and Quincy, Illinois, Grand Island, Nebraska, and Huron, South Dakota. Newspaper articles track the firm’s steps as they go from one opera house to the next.
On March 21, 1885, the “Kansas Cowboy” of Dodge City, Kansas, reported, “Graham & Davis, scenic artists, of Kansas City, have been awarded the contract for painting the drop curtain and scenery for the McCarty opera house. There are to be five scenes. These artists painted the scenery for the Gillis Opera House at Kansas City” (page 3).
On May 9, 1885, the “Sioux City Journal” reported, “L. L. Graham, scenic artist of the firm Graham & Davis, of Kansas City, was in town yesterday.”” (page 3). On August 4, 1885, the “St. Joseph Gazette” of St. Joseph, Missouri, reported, “Opera House improvements. The opera house cannot be obtained for the Grant memorial service, as a large force of workmen commenced yesterday on the erection of scaffolding throughout the house and ascending to the ceiling, for the use of the frescoers. Messrs. Fedeili & Suzen are doing the frescoing, and Graham & Davis the scene painting. The large center medallion in the ceiling will be retained, but all the rest will be new. It will require several weeks to complete the work” (page 5).
They also worked alongside other Sosman & Landis employees, including stage machinist Claude L. Hagan. On July 11, 1885, the “Champaign Daily Gazette” of Champaign, Illinois, included an article entitled “Getting Ready” (page 1). The article reported, “The scenery is being put in place, and when completed will be as fine as any in this part of the state. The work is being done by Graham & Davis, of Kansas City, and is superintended by Mr. C. L. Hagan. The appliances for shifting scenes, raising the curtain and presenting the finest stage effects, are all of the latest kind. The drop curtain will be in place on Monday, and we are assured that it will be a fine picture. The first entertainment will be given on Thursday evening by the Kennedy Comedy Company, who will occupy the boards three nights in succession, with a change of program each evening. The sale of seats will begin on Monday, at the post office drug store, where they may be secured for wither entertainment.”
On July 26, 1885, the “St. Joseph Herald” of St. Joseph, Missouri, reported, “The Next Season at Tootle’s. The Opera House Refitted – some of the attractions. Messrs. Graham & Davis have been occupied the past three or four weeks in painting an entire set of new scenery for the opera house. These gentlemen have just completed the painting of Boyd’s of Omaha, and were the scenic artists for the Gillis Opera House, Kansas City, the Academy of Music, Peoples’ and Standard of Chicago, and if further evidence of the ability were required it was shown in the magnificent grand drapery, tormentor wings and new garden scene at Miss Carter’s benefit last Friday. They have completed the most attractive landscape, a garden, new cottage interior, and are now at work upon a modern parlor interior, which will be pronounced the handsomest piece of scene painting ever seen on the local stage. They have also repainted the borders, tormentors, grand drapery, wings and a number of set pieces, among others a new set tree, which has long been needed. They will paint also a new street scene and a palace back, beside a number of necessary pieces” (page 4).
On August 21, 1885, the “Quincy Daily Journal” credited Messrs. Graham & Davis with the new scenery and drop curtain for the opera house in Quincy, Illinois (page 3). That spring they were contracted to fresco the auditorium and paint all of the scenery. On May 30, 1885, the “Quincy Daily Whig” reported, “Yesterday the management agreed to employ the firm of Graham & Davis to fresco the auditorium and repaint all the scenery. A large amount of new scenery has also been contracted for, and, as the firm which has secured the contract, are known as among the finest scenic artists in the west, the Quincy amusement goers reasonably expect to see a very handsome opera house and scenery when the work is complete” (page 3). The firm also delivered scenery for another Quincy stage at Geise’s German Theatre. On September 5, 1885, the “Quincy Daily Journal” reported. “Geise’s German theater will be opened in about two weeks. The scenery is being painted by Graham & Davis, at Kansas City” (page 4).
On September 3, 1885, “The Dakota Huronite” credited Graham & Davis for the stage scenery and machinery at the new Opera House in Huron, South Dakota (page 5). The article reported, “The stage was fitted by Claude Hagan, of the Gillis Opera House, Kansas City, and everything works so smoothly and perfectly that it is hard for the proprietors to find words to express their satisfaction. The scenery is the work of Graham & Davis of Kansas City, and its excellence seems to increase with each inspection.”
On Dec. 10, 1885, the “Grand Island Independent” of Grand Island, Nebraska, reported, “The handsome new drop curtain at Bartenbach’s opera house has been hung. It is a rich and handsome piece of work, costing between $200 and $300, executed by Graham & Davis, artists, of Kansas City. The curtain contains business cards representing twenty-two of the leading forms of this city, relieved by a neatly executed center piece representing a scene in Venice. Above is a life-like portrait of the proprietor of the opera house, Mr. Geo. Bartenbach, and the curtain is certainly a decided improvement over the former one and very attractive” (page 1).
While Graham & Davis were working in Kansas City, Will’s younger brother Edwin was working as a scenic artist in Cincinnati. It is possible that Edwin was operating a regional office for Sosman & Landis in 1885.
By 1886, the firm of Graham & Davis relocated a much larger studio to accommodate the increased workload, located at 525 Main, Kansas City. Graham & Davis continued to work throughout the region, delivering scenery to opera houses in Ness City, Kansas and Omaha, Nebraska.
On May 1, 1886, the “Ness County News” of Ness City, Kansas, reported, “The new scenery for the Opera House was received last Tuesday morning, but has not yet been placed in position. By some accident, the scenery was delayed in transit for about four weeks, and because of the lateness of the season it has been determined by Grand Army Post not to attempt the production of the military play the ‘Union Spy’ until next fall. In place of that play some minor drama will be produced for the benefit of the Post at an early day, on which occasion the scenery. Will be used for the first time. The scenery was painted by Messrs. Graham & Davis, of Kansas City and gives satisfaction in every particular” (page 5).
In 1886, Graham, & Davis delivered scenery to Boyd’s Opera House in Omaha, Nebraska. On July 17, 1886, the “Omaha Daily Bee” reported, “The ‘painter’s bridge’ which has been idle so long is now occupied by the artist Graham of Graham & Davis, of Kansas City. The gentleman arrived yesterday, and has already made considerable progress in the painting for which he came. He will be engaged here for about six weeks when the opera house will reopen with a. fresh new supply of beautiful scenery…Mister Graham will this year, paint more new and retouch more old scenes than he has ever done on his earlier visits. Among this year’s work will be eight street wings, of both ancient and modern styles. These will be cut in profile, and act as business places, public buildings and private residences. The stage at the Boyd has never has street wings before, it being found necessary to supply their places with wood wings. He will also paint a white Elizabethan interior with armorial bearings, illuminated windows and features peculiar to that age. This will be particularly appropriate for a large number of operas and is being painted expressly for them. Besides these, there are several other ‘interiors.’ One of which is to be the most elaborate in design and excellent treatment. The supply of set pieces consisting of rocks, street, houses and other article of like nature is to be increased, so that., in fact the stage will have at least fifty per cents of its material that will be fresh to the audience” (8).
At some point during 1886, Davis headed north and began working in Minnesota. At the time, he was listed in two city directories, both in Kansas City and St. Paul. In St. Paul, he was listed as the artist for the Grand Opera House, living at 35 Court Block. Interestingly, his future business partner, William Knox Brown, was also working at the same venue as the stage mechanic. Davis’ employment in St. Paul, however, did not last for long. By 1887 Davis was again living in Chicago where he would remain for several years. He continued to travel and work throughout the region, all the while maintaining a permanent residence in Chicago.
1887 advertisements for L. L. Graham listed him as a scenic artist and “contractor for stage equipments, theatrical hardware, frame work, canvas, traps. Bridges, opera chairs, etc., and everything necessary for requirements of a first-class theatre.” His studio address was still listed as 525-527 Main Street in Kansas City. Meanwhile, J. U. Tschudi, B. F. Dunn, C. A. Oldham, and C. J. Lorella, were running the second iteration of the Kansas City Scenic Co., advertising as “Practical Artists and agents for theatrical hardware and stage supplies.” The firm’s offices and studio were located at the Gillis Theatre in Kansas City.
In 1888 Davis was listed in the “Painters and Decorators” section in the “Chicago Directory,” listing his address as 1036 W. Vanburen. By this time, his reputation as a scenic artist was quite well-respected and known throughout the Midwest. On February 19, 1888, Davis was mentioned with several other well-known scenic artists in an article entitled “Stage and Scenery,” published in “The Saint Paul Globe” of St. Paul, Minnesota. In the section, “LOCAL AND GENERAL TALENT,” the article reported, “Among the elder scenic artists of the country are David A. Strong, of Chicago, formerly of Niblo’s Garden, New York, should be mentioned as one of the best colorists, and indeed is an artist of high rank. Marston, of New York, excels as an interior painter, and paints admirable exteriors as well. Thomas Noxon, of St. Louis, another veteran painter, has probably done his share to elevate the public taste in this line. William Voegtlin. E. T. Harvey. Henry E. Hoyt, John H. Young, Harley Merry, W. P. Davis and Phil Goatcher, number among those in the front rank.” Davis’ future business partner, William Knox Brown, was also mentioned in the same article: “W. K. Brown, of New York, the stage carpenter, deserves great credit for the clever mechanical effects to be seen at People’s. He is enthusiastic, a skilled mechanic and artist in his line. The artist and carpenter work hand and hand in the production of each play.”
In 1889, William P. Davis was still living in Chicago with his mother and brother Edwin, who was also working as a scenic artist. About this time, Will Davis became associated with the new Auditorium Theatre, continuing the build his reputation in the area. Opportunities in the northland, soon enticed Davis back to Minnesota. In 1891, Davis was assisted by Arthur Hurtt in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. Previously known as the Bijous Theatre, on April 11, 1891, “The Irish Standard” reported, “The stage has been enlarged and improved, new curtain and scenery being especially designed and painted by W. P. Davis, as assisted by Arthur Hurtt” (page 5).
On April 23, 1893, the “Chicago Tribune” announced, “Manager Will Davis of the Columbia has returned from his trip to New York, which was taken for the purpose of arranging the final details of his World’s Fair attractions” (page 37). By 1894, Davis is associated with the Grand Opera House in St. Paul, Minnesota, boarding at the Clarendon Hotel in that city. He continues to work in the Twin Cities and is constantly mentioned in the newspapers, heralded for his scenic art works.
On April 30, 1899, “The Saint Paul Globe” reported:
“NEW DROP CURTAIN.
Picture to Delight the Eye of Patrons of the Metropolitan.
The magnificent new drop-curtain of the Metropolitan opera house will be exhibited to the inspection of the patrons of that theater for the inspection of the patrons of that theater for the first time tomorrow, Monday evening, this being a feature of the opening of Otis Skinner’s engagement. It is a beautiful and artistic specimen of scenic art, and is considered by Mr. W. P. Davis, the veteran scenic artist, to be one of the finest drop-curtains in the country. The subject represents a mammoth landscape in a gorgeous frame; in the foreground we see the limpid waters of the beautiful lake, set like a sparkling gem in a cluster of towering hills, with the blue sky of Italy overhead. In the distance the hills rise, tier on tier, to the dim horizon line where earth and sky blend in a film of delicate, shadowy color. The perspective is exceptionally good, the impression of great distance being brought out with remarkable effect. On the right can be seen a portion of the walls of an Italian castle, with broad marble steps leading down to a path which extends across the foreground, and is lost to sight in a mass of foliage o the extreme left of the picture. To the foot of the steps the figure of a beautiful woman is seen leaning in a graceful attitude on a handsome urn, holding on her arm a basket of brilliantly colored flowers.
The picture appears set on a dais, with a single rug-covered step leading to the ground line; on either side massive pillars support a canopy over the picture. Heavy draperies hang from the canopy, looped back in graceful folds on either side of the frame. The colorings are bright and harmonious, the treatment artistic and pleasing, and the general effect all that could be desired. The new drop-curtain will be an ornament to the handsome auditorium of which Manager Scott and his patrons are so pardonably proud” (page 28).
On Feb. 18, 1900, “The St. Paul Globe” described Davis’ work at the Metropolitan Opera House (page 28). The article reported, “PRETTY DROP CURTAIN. New One Will Greet Metropolitan Habitues This Evening. The magnificent new drop curtain of the Metropolitan opera house will be hung for the first time for the Danz orchestra concert this afternoon. This practically completes the process of redecoration which has been in progress at the Metropolitan since Dec. 1898, the entire house having been gone over. The new curtain is a beautiful specimen of scenic art and it is with a great deal of pardonable pride that Manager Scott announces its completion. The material is asbestos, and it forms an absolutely fireproof screen between the stage and auditorium. The borders are painted in bright, cheerful colors and tints in harmony with the decorations of the auditorium, giving an effect of striking brilliancy to the interior of the theatre. The center of the curtain is occupied by a mammoth picture, the subject being a splendid view of St. Paul from the bluffs behind the high bridge. In the foreground, on the right, may be seen a group of huge trees springing from the side of the precipitous cliff, and sweeping away to the left the view stretches across the blue waters of the Mississippi, over the level expanse of the flats to the sand rock bluff, which centuries ago formed the north bank of the river. From bluff to bluff the big bridge stretches like the web of a colossal spider, and beyond it the city of St. Paul fills up the rear ground of the picture, the view standing out with the clearness and distinctness of a photograph. The curtain is the work of W. P. Davis, who also designed and executed the decorations of the auditorium.”
Meanwhile, Edwin continued to work as a scenic artist in Chicago. The 1900 US Federal Census listed Edwin living in Riverside, Illinois, with other scenic artists. At the time, he was 41 years old and widowed. Willis M. Dietrich was listed as the head of household in the census report. Dietrick was 44 yrs. old and listed as a manufacturer of theatrical scenery. In addition to Davis, members of Dietrich’s household included his wife, Jesse L. Dietrich (38 yrs. old), and his three sons, Harry W. Dietrich (17 yrs. old), Dean S. Dietrich (10 yrs. old), and Leslie M. Dietrich (9 yrs. old). The eldest son, Harry, was also a scenic artist.
Davis soon moved to St. Paul where he worked for his brother’s scenic studio. And this brings into play another scenic studio established by Davis, William K. Brown and Theodore Hays, the Twin City Scenic Studio. Davis’ association with the firm was not published in City Directories until 1902, but his work with the firm’s co-founders started long before that.
Much has been written about the Twin City Scenic Company by C. Lance Brockman, Professor Emeritus at the University of Minnesota. A scenic design collection, acquired by the University of Minnesota Performing Art Archives in the 1980s resulted in an exhibition from April 5 to June 14, 1987, at the University Art Museum, University of Minnesota, Minneapolis, curated by Brockman. The exhibition catalogue was entitled “The Twin City Scenic Collection: Poplar Entertainment, 1895-1929,” and included essays written by Brockman, John R. Rothgeb, Forrest A. Newlin and Lawrence J. Hill.
The catalogue summarizes the history of the Twin City Scenic Company, noting that by 1895, Davis, Brown and Hayes partnered to establish the Twin City Scenic Studio. The three initially worked at Bijou Opera House, with Hays acting as the manager. Each partner managed a particular aspect of business: Hayes was the business manager, Brown was the master mechanic, and Davis was in charge of the scenic art department. From his past work in Kansas City and Chicago, Davis had access to a large labor pool of scenic artists in the region, including his brother Edwin Davis.
In 1905 the Twin City Scenic Studio was incorporated, and became the Twin City Scenic Co. On July 15, 1905, the “Minneapolis Journal” published “Articles of Incorporation of the Twin City Scenic Company, Minneapolis, Minnesota” (page 14). In Article 1, the listing detailed, “The name of this corporation shall be the ‘Twin City Scenic Co.’ The object for which this corporation is organized, and the general nature of its business shall be the manufacture and sale of all kinds of stage equipment, apparatus, properties and supplies for theaters, lodge halls, clubs, carnivals, expositions, fairs and entertainments, and the manufacture and sale of costumes and theatrical paraphernalia and photographic backgrounds, advertising scenery, effects and novelties.” In Article V, the names of the individual forming the corporation were listed as William P. Davis, William K. Brown. Theodore L. Hays and John A. Van Wie, all of Minneapolis. The four men comprised the first officers of the corporation: Davis was President, Brown was Vice-President, Hays was Treasurer and Van Wie was Secretary. The amount of capital stock of was listed as $25,000, with 500 shares valued at $50.00 each.
The beginnings of the firm were also mentioned in a “Minneapolis Journal” newspaper article published on February 25, 1905 (page 16). The article described the firm’s contribution to the new Minneapolis Auditorium under the heading, “Fine Stage Equipment,” the article reported:
“All the stage equipments were furnished by the Twin City Scenic Studio of Minneapolis and St. Paul. All of the curtains, scenery, stage traps and stage equipment were furnished by this company, as well as the asbestos curtain, and all of the equipment is of very high grade. This company was organized but four years ago and has developed a scenic business that will compare favorably in quantity and quality with any similar company in the country. The company is composed of Theodore L. Hays, manager, W. P. Davis, chief artists, and W. K. Brown, chief mechanic. Mr. Davis was formerly chief artist of the sudatorium theater, Chicago, and is a veteran of scenic art. Under his direction the scenery for the Auditorium will be painted. Mr. Brown is conceded to be one of the ablest stage mechanics in the country and under his direction the auditorium scenery will be built, and the mechanical appliances and apparatus installed.”
In 1905, the Twin City Scenic Company hired Walter Burridge to paint the Auditorium Theatre drop curtain. Burridge was assisted by Davis in this endeavor. Hiring a well-known scenic artist to paint drop curtain for the Auditorium Theatre was a very strategic move for the Twin City Scenic Co. This was a common practice, one perfected by Sosman & Landis in the 1880s and 1890s. Temporarily contracting a well-known artist added legitimacy to the firm and helped the project make headlines. On May 9, 1905, the “Star Tribune” described the new drop curtain. I am including the article in its entirety:
“The great Auditorium curtain, a work of high art, done by one of the most celebrated scenic artists in this country, is now practically finished , and Walter Burridge, whose whole attention has lately been given to this fine picture, left last night for New York. What remains to be done, W. P. Davis, artist of the Twin City Scenic studio, who has assisted in the work, will complete.
The subject chosen by Mr. Burridge was the ruined temple of Minerva, the only condition which is known in modern times, and one which the artist has freer rein for an idealized and imaginative work.
IN KEEPING WITH THE BUILDING
While the artist has been silently engaged on the picture few have known of his presence, or of the work of art which was growing under his hands, to be one of the greatest of the creations with which he has adorned many leading halls of America.
A few artists have seen the work, and these declare it to be the crowning glory of the splendid interior; a work perfectly in keeping with the building, restful and quietly pleasing to the eye, and in fine, a work of art upon which one might gaze long and not tire.
The subject is taken from an old picture of the ruined temple. It is not, however, simply a reproduction, the original being idealized, the scene somewhat elaborated and the treatment adapted to the purpose of a stage curtain.
The temple is shown on its stately eminence in the middle distance, the outlines somewhat hazy, and the beautiful Grecian columns in various stages of decay. The building occupies a position in about the center if the picture, and is surrounded by a characteristic and beautiful Athenian scene, which stretches away in the background to a dim and poetic distance.
The general tone of the work is quiet and subdued and in perfect harmony with the plain and massive character of the auditorium interior. The tints are neutral, sienna grays and other pale tints being mostly used.
The border, which remains to the done, will of course be Grecian, and will be worked out in subdued colors.
WORK OF MAGNITUDE
The immense size of the curtain, 44 by 58 feet, of itself made the work one of no little magnitude, and when it is considered that the colors spread over this great area were to combine into a work of high art some conception of the task of the artist may be formed.
The new curtain will be seen for the first time by the public on the opening night of the grand opera season, March 14, and will be a feature lacking at the recent grand opening, when the asbestos curtain had to do duty in its stead.
Walter Burridge designs the scenic part of all the great productions of Henry Savage, and his journey to New York is in connection with one of these.
He was specially engaged by the Twin City Scenic studio, which has charge of all the scenic work for the Auditorium.”
I want to briefly place the mention of Burridge’s work for Savage in historical context, as it relates to both Davis and Thomas G. Moses. When Moses left Sosman & Landis in 1900 and moved to New York for four years, he was contracted by Henry Savage to design all of the scenery for his operas. In New York, Moses also established the scenic studio of Moses & Hamilton. Moses ended his New York partnership with Will F. Hamilton in 1904, and returned to Chicago to become the vice-president of Sosman & Landis, directly supervising all design, production and installation at the firm. Moses was also a former business partner of Burridge. Two decades earlier, Moses the two had established the scenic studio of Burridge, Moses & Louderbeck. Davis, Burridge, and Moses were all intimately connected and part of a very tightly-knit network. It is always important to examine the scenic studios that did not compete against each other. I have yet to locate any competition between Twin City Scenic Co. or Kansas City Scenic Co. with Sosman & Landis; each company being founded by former Sosman & Landis employees. Yet they all worked on projects in the same region, subcontracted work to one another, yet seldom competed for the same project. Studios owners also maintained very close friendships. For example, Davis and Moses remained close friends from their first meeting in 1881 until Davis’ passing in 1922.
Even after Davis moved to Seattle, Washington, Moses continued to visit his dear friend whenever he was in the area. In 1921 Moses wrote: “Ran over to Seattle and was pleased to see friend Davis.” In 1922 Moses was working in Tacoma, Washington, and recorded, “My old friend Davis called on me from Seattle.” Their last meeting was shortly before Davis passed away in August 1922.
Both Edwin and William P. Davis moved to Seattle by 1910, although I remain uncertain as to the exact date. However, by 1911, the annual company scrapbook for the Twin City Scenic Company includes a photograph for a parade float in Seattle, Washington.
I have yet to locate any record of Davis’ scenic art work in the Pacific Northwest. Their move shortly follows the establishment of several scenic studios in the regions, however, and this may have been cause for their initial move west. For example, in 1906 William Grabach established his Pacific Coast Scenic Studio in Portland, Oregon. Grabach was another former Sosman & Landis scenic artist. I have not tried to track down any connection between Grabach and Davis. Neither Will or Edwin appears to have established a scenic studio or became associated with any theatre manufacturing firm. All I know for certain is that William and Edwin were living together in Seattle when Edwin passed away in 1914. His death was announced on Aug. 20, 1914, in Rochester’s “Democrat and Chronicle:”
“Edwin Davis. Brockport, Aug 20. – News was received to-day of the death of Edwin Davis, formerly of this village, in the home of his brother, William P. Davis, in Seattle, Wash. He was 55 years old, having been born in Brockport in 1859, His early life was spent in this village and he graduated from Brockport Normal. His later life was spent in Chicago, He was a scenic artist by profession. His only relative is his brother. The body will be brought here for burial in the High street cemetery” (page 5). Edwin was buried in the same cemetery as his father H. C. Davis.
Will Davis also passed away eight years later, also in Seattle. A Washington State death certificate lists his passing on June 10, 1922. Other than a digital summary, I have yet to locate any other information, including cause of death or an obituary notice. Although his father and brother were buried at High Street Cemetery in Brockport, New York, William P. Davis was not buried there.
There was a William P. Davis (died in Tacoma, Pierce County, Washington, in 1922) who is buried at Oakridge Cemetery, Marshall, Calhoun County, Michigan, Lot #55, Sec. E, New Grounds. Tacoma is very close to Seattle, Washington. I am pretty confident that this is the same person.
Gravestone of William P. Davis at Oakridge Cemetery in Marshall, Michigan.
To be continued…
