Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 67 – William Grabach

Copyright © 2021 by Wendy Waszut-Barrett

William Grabach worked with Sosman & Landis in 1897. He would maintain a relationship with the firm over the years, after all the scenic art world was quite small then.

This is one long post, but it is a VERY intriguing story. This is the life that should be made into a movie. Lots and lots and lots of drama, almost to an unbelievable point. Regardless, his story is certainly worth telling.

Exploring the life and career of Grabach is like trying to figure out a Rubik cube. You come close to solving the puzzle, only to realize that one square is still out of place. Part of the difficulty is that there were quite a few individuals named William Grabach running about the same time.  This is always a nightmare, as you have to backtrack all of the information, correlating parents, siblings, birth year, location, etc. To make matters worse, there were a few William Grabachs living in the same area. This is the problem with very large families because of multiple individuals who may share the same name. Just because you pick the perfect name for your child doesn’t mean that your sibling won’t pick the same name.  

William came from quite a large family. He was the son of Augustus Grabach (1818-1860) and Maria “Mary” Elisabeth Setzler  (1821-1903), born on July 20, 1856, in Fremont, Ohio. To date, I have successfully identified the following Grabach children:

John Grabach (1843-1924)

Henry Grabach (1844-

Johan F. Grabach (1845-before 1860)

Anna G. Grobach (1846-before 1860)

Augustus Grabach Jr. (1847-1869)

George Grabach (1850-1927)

Elizabeth Grabach (1850-?)

Catherine “Katie” Elizabeth Grabach Loeffler (1851-1926)

Philip Grabach (1853-1927)

William M. Grabach (1856-1913)

Charles A. Grabach (1858-1909)

Between 1850 and 1860, the Grabachs moved south from Rice Township in Sandusky County. In Ohio to Adams Township in Seneca County.  This was not a huge move, and their journey passed through the larger city of Fremont. We are only talking about a 15-mile trek.  The Grabach family would remain in this area for quite some time. To help you imagine this area, Fremont is approximately 35 miles southeast of Toledo, Ohio.

On March 16, 1860, Augustus Grabach Sr. passed away from fever. At the time of his passing, his occupation was listed as a Master Mason.  That same year, his son John was also listed as a masonic apprentice. John’s younger brother August Jr. would also follow in his father’s footsteps, becoming a brick mason and general contractor when first employed.

Augustus Sr.’s  passing meant that his widow Elizabeth was left alone with several young children to cloth and feed. Each child was pushed out of the nest as soon as they could earn a living, one right after another. The first to leave was Henry Grabach; keep his name in mind as he is a major character throughout the story. Henry Grabach moved to Fremont and began working as a confectionary store in 1860. He would continue to help out over the years, offering work and a place to stay for his younger siblings over the years. He would also help out with his nieces and nephews, always coming to the rescue. He was part of the family’s foundation in Clyde, Ohio.

In the midst of mourning the loss of Augustus Grabach, shots were fired on Fort Sumter the next spring, and the United States entered a Civil War. Although too young to fight in the Civil War, three of William’s brothers joined the Union: John, Augustus Jr. and Henry. They all came home, and picked up their lives where they left off. William did not leave home until he was fourteen years old. In 1870, he went to work for his brother Henry.

By 1870, Henry Grabach was employed as a boot and shoe manufacturer, working for his older brother Henry. Years later, a newspaper article about William Grabach would note, “He did not like the farm, nor the shoe business, in which he was engaged with a brother in Northern Ohio.”  In 1870, Henry Grabach’s household included his young wife, two infant children, younger brother William, and another female (likely a family helper). They were all listed as living in Green Creek, Ohio. Green Creek was a 2 ½ hr. walk north of the Grabach family home in Adams Township.

By 1876, Henry and William Grabach were working in Clyde, Ohio. This was only a one-hour walk from Green Creek, but the family soon moved to Clyde. In 1877, Henry advertised in the “The Clyde Sentinel” – “Grabach is the man to buy your boots and shoes of” (The Clyde Sentinel, 25 May 1877, page 8).

William Grabach began his painting career in Clyde, possibly first making signs for his brother’s store or other local businesses. Installing a new sign made news! On April 20, 1877, “The Clyde Sentinel” announced, “Grabach has some new signs”.

In Clyde, Henry Grabach briefly partnered with John Joseph to establish the short-lived firm of Joseph & Grabach. By 1879, the partnership ended, with Henry opening H. Grabach’s store. Advertisements placed in “The Clyde Sentinel” directed, “Boots, shoes, slippers, hats and caps, coming by the dray load every day for H. Grabach. Clyde has never had such a full assortment. Go and see them” (May 9, 1879, page 5). Henry Grabach went on to enjoy quite a successful career as a well-known boot and shoe maker. In 1881, he even held a patent for a show improvement. Here is the link to the patent: https://patentimages.storage.googleapis.com/2e/c5/37/6b63b239d47541/US244588.pdf

Unlike his brother Henry, William was not passionate about shoeing the public, and began to focus on painting. He did not stay in town for long, and headed west for Illinois. By 1880, however, his easel art made news in Springfield, Illinois. The earliest mention that I have located to date about Grabach’s art career is from 1880. On July 22, 1880, “The Clyde Enterprise” reported, “Many of our citizens will remember Mr. Wm. Grabach, who spent some time here a few months ago with his brother Mr. H. Grabach. He is an accomplished oil painter and artist, though the only work we know of his having done here was frescoing and ornamental painting in Masonic Hall.” The article included an excerpt describing Grabach’s oil painting: “In Springfield (Ill.) Daily Post on July 12^th, we find the following complimentary mention of a portrait in oil executed by Mr. Grabach:-

“A BEAUTIFUL PAINTING.- In the window of Mr. Frank Simmons’ book and stationary store, on South Sixth street, there is an oil painting that is attracting much attention from passers-by. It is the likeness of the little son of Mr. and Mrs. George Henly of this city, executed by Mr. William Grabach. It is certainly a very fin piece of work, and is a good sample of the ability of the artist” (page 3).

By the mid-1880s was working as a painter. Like many artists at the time, he also worked as a decorative painter and fresco artists. He partnered with his younger brother Charles to establish the painting firm of Wm. Grabach and Brother. They were listed in both the 1886 and 1887 Clyde Directories. The two are even listed in the biographical dictionary entitled “Artists in Ohio, 1787-1900.” Here is their listing in the publication: https://www.google.com/books/edition/Artists_in_Ohio_1787_1900/ZdICm_W8xKwC?hl=en&gbpv=1&dq=%22William+Grabach%22&pg=PA346&printsec=frontcover

Charles did not remain in the painting business, and soon returned to farming. Later on, his obituary notice would state that Charles, “spent most of his life on farms in Adams and Thompson townships in Seneca county, south of Clyde”(“The Clyde Enterprise on March 11, 1909, page 4).

On March 1, 1881, William Grabach married his first wife, Margaret J. Watterson, in Sangamon, Illinois (Springfield County Court records). Their marriage was also recorded in church records held by Roman Catholic Diocese of Springfield Sacramental Records. Watterson was listed as a Catholic and Grabach the Congregationalist. The groom’s parents were listed as August Grabach and Elizab. Setzler. Watterson’s parents were listed as Johann Watterson and Anastatia Haffermann.

The young couple celebrated the birth of their first child that fall. Margaret “Maggie” May Grabach was born on  Sept. 15, 1881. She was baptized a month later on Nov, 20, at  the Catholic church of St. Pater and Paul.  Baptism records from the Roma Catholic Diocese of Springfield list “Gulielmus Grabach” and “Margar. Watterson” as her parents. For the record, the “Gulielmus” is Latin for “William.” Maggie May was listed in church records as “Margaretha Maria Grabach.” Years later, her marriage records would list state her mother’s name as Maggie Harrison; this was an error. I managed to track down William’s wife in the 1860 US Federal Census. At the time, she was listed as the 5-yrs. old daughter of John (48 yrs.) and Ann (46 yrs.) Watterson; the youngest of their seven children living at home  in Harlem, Winnebago County, Ill. William and Maggie celebrated the birth of three children: Maggie May (b. 1881), William Jr. (b. 1883) and Paul (b. 1886).

William Grabach continued to work as a scenic artist and ornamental painter. He was listed as an artist in the 1883 and 1884 Springfield directory, living at 295 English Ave. Although he was listed in the directory, his family moved back to Clyde, Ohio, in 1883. In Clyde, William Jr. and Paul were born. This was when William Sr. began painting with his younger brother Charles. The firm of “William Grabach and Brother” was listed in the 1886 and 1887 Clyde City Directory. The Grabachs continued to live in Clyde for the next few years, with William continuing to secure projects throughout the region.

William purportedly remarried his second wife in 1888. They may have hooked up that year, but William did not leave his first wife until the fall of 1891; and that is a whole other bit of drama that I will cover in a few paragraphs.

His second wife was Nancy Anna “Nannie” McKay (1856-1902). I have yet to find any official marriage record, but I have located her gravestone in Denver, Colorado. The 1900 US Federal Census provides a little information about Nancy, including a birthdate of May 1856. This information matches the inscription on her gravestone and other historical records that I have encountered. Nancy was Born in New Castle, Delaware, the daughter of George and Elizabeth McKay. By 1900, the census listed that the two had been married twelve years and were living with their son Paul in West Omaha, Nebraska. At the time Paul Gustav Grabach was 16 yrs. old, with his birthdate listed as Feb. 1884.

Grabach was still in Clyde in 1889. On Jan. 10, 1889, “The Clyde Enterprise” reported, “Mr. Wm. Grabach, scenic and fresco painter is in Findlay doing the frescoing of an elegant new church edifice there, erected by the United Brethren” (page 3). Grabach also began accepting an increasing number of projects in Michigan that year. On August 29, 1889, “The Clyde Enterprise” included an excerpt from the Three Rivers Mich., Herald – “The fresco social at the Lutheran church Wednesday evening was well attended. Prof. Graubaugh [sic.], explained to the audience in a most satisfactory manner the significance of the 14 beautiful fresco designs which decorate the ceiling” (page 1). The article went onto describe the significance of the murals.

Some of the difficulty is that the spelling of Grabach’s last name is very inconsistent. Variations in spelling include Grauback, Graugbaugh, Graybach and Grayback.  He begins to cast his net wide for work. As with other scenic artists of his generation, staying put in a small town will not pay the bills.  Painting was a lucrative business, but only if one was willing to travel. The profession demands that artists spend incredibly long period away from their family and home.

This is what happened to Grabach by the late 1880s. He began accepting bigger, and bigger projects, which meant extended absences from Clyde, Ohio. Thomas G. Moses encountered this when he tried to stay in his hometown of Sterling, Illinois. Work necessitated establishing a permanent residence in large metropolitan area, one that was well-connected to other regions of the country by rail.

In 1890, Grabach won the contract for decorating the new congregational church in Kalamazoo, Michigan.  On Feb 20, 1890, “The Clyde Enterprise” reported “Kalamazoo, Mich., Gazette, Feb. 19^th: “The bids for the decorating of the interior of the new Congregational church were opened yesterday. Those submitting bids were Coover & Son, of Ft. Wayne, Jno. C. W. Rhode, of Chicago, Wm. Grabach of Clyde, O., and one other Chicago firm. The bid of Mr. Grabach at $1,000 was accepted. The design is a very handsome one and his work here and elsewhere is a guarantee that it will be first class. The work of plastering the interior is progressing rapidly and the work of decorating will be begun as soon as material can be obtained. Clyde talent always gets to the front.” (page 3). This is the project that brought him to Michigan, where he continued to accept work for some time. In 1891, William Grabach was listed briefly listed as a painter in the Detroit City Directory, living at 82 Abbott.  This was a common practice when scenic artists accepted a long-term project. He was not listed in either the 1890 or 1892 directory, he was still living in Detroit in 1892. Likely Grabach was focused on another matter – the abduction of his two young sons.

The story was published in “The Clyde Enterprise” on June 16, 1892 (page 3). The article was entitled, “Got His Children Back.” First published in the “Cleveland Leader,” the article reported, “Two small boys, who, it is claimed were abducted from home by a Roman Catholic priest, and placed in St. Vincent’s Orphan Asylum in this city, were restored to their father yesterday afternoon, by an order from Judge Solders, of the Common Please Court. The lads are Willie M. F. Graybach, eight years old, and Paul G. D. Graybach, six years old.  Their father is William Graybach, a scenic artist formerly of this city, and now a resident of Detroit. He painted the curtain and scenery in the Lyceum Theater of this city.” The article also explained the end of Grabach’s first marriage: “The father of the boys told an interesting story to the court. He said that he and his wife separated while living in this city last November. They were married in Springfield, Illinois, in 1881. They lived happily until they moved to Clyde, O., a few years ago. Soon after going there his wife suddenly became a Roman Catholic through the influence of the priest of that parish. Graybach was a strong Protestant. There was discord in the family immediately, and it continued to increase after they moved to this city a year ago. They parted November 16 last year. Graybach told the court that he agreed to provide a comfortable living for his wife an allow her to keep the children, provided she did not send them to a Roman Catholic Sunday School. His wife promised to obey his wishes, he said., Graybach went to Detroit, where he was employed, and his wife went to Clyde with the boys and a little girl, ten years old. Mrs. Graybach’s mind became affected on account of her devotion to the church and she was placed in the Asylum for the Insane of Toledo, early in May. Graybach placed the children in care of his mother on a pleasant farm near Green Spring. He returned to Detroit, but was hastily summoned back upon information that his children had disappeared. They had been left in the care of a neighbor by their grandmother while she went to the village. A stranger called and said he had been sent to take the children home. It was learned afterwards that they were taken to the residence of Rev. Mr. Moran, pastor of the Roman Catholic Church at Clyde, upon his orders, by a man named H. Gibbons. They were kept in the priest’s house overnight, and the two boys were then taken to this city and placed in charge of Mother St. Joseph, lady superior at St. Vincent’s Male Orphan Asylum. Three sons of Mrs. Graybach, by a former husband, learned that their stepbrothers had been taken to Rev. Mr. Moran’s residence and went there and demanded the children. They were ordered away and were refused any information about them. Mr. Graybach has been working on the case ever since. He succeeded in locating the boys at St. Vincent’s Asylum yesterday, and secured the writ of habeas corpus.”

In the end, Grabach was granted full custody of his two sons.  The article continued, “The boys ran to their father’s arms and threw their arms about his neck and cried, “Papa, papa, they won’t take us away any more, will they?” The eldest boy said to those around him that he didn’t like to live at the Orphan Asylum and was very happy because his father found him. They are unusually bright boys and good looking. Mr. Graybach said that he would immediately take measures to secure his daughter. He has learned that she is in the care of a Roman Catholic in Toledo and expects to obtain possession of her today.

When asked as to the correctness of the above from the Leader, Rev. T. F. Moran stated to the ENTERPRISE that it is chiefly fiction. In the first place he says Mrs. Graybach was born and raised a Catholic, that she was a Catholic when Graybach married her, and that he himself frequently accompanied her to Catholic church without objection until a few years ago he failed to secure the job of frescoing the new church, since which time he has been very bitter against the church; that Mrs. Graybach always desired her children to be raised Catholics, and frequently expressed that desire; that the children were shamefully abandoned and neglected by their father and their other driven insane by his outrageous conduct; that Mr. Gibbons, who is accused of abducting the children, had in reality been previously appointed the legal guardian by due process of law, and was authorized by law to place them where he saw fit; and that the whole matter was done openly and above board, solely for the good of the children.

Henry Graybach, uncle of the children, says he believes the appointment of Mr. Gibbons as guardian was secured by collusion and political influence of Fr. Moran over the Probate Judge; he says the father is the legal guardian of the children, and was ready and offered to support them; that he himself had taken charge of them at the request of their father, had clothed them and was sending them to public schools in the country from the residence of their grandmother, from whence they were kidnapped and carried away to Catholic school in Cleveland; and that whatever has been the shortcomings of the father in the case, and without upholding his outrageous treatment of the mother and children, he considers the action of the Catholics and the alleged guardian and the Probate Judge as unwarranted and even more reprehensible than the meanness of the father. The case is not yet ended, and further developments are awaited with interest.”

On June 30, 1892, “The Clyde Enterprise” republished an article from the “Toledo Blade” that involved Grabach’s daughter Maggie.  In an article entitled “The Romance of a Child,” the story painted a very different picture of Grabach. “A very interesting case involving the custody of a little girl 10 years of age, was tried before Judge Millard yesterday afternoon and this morning. It was brought pout by a writ of habeas corpus instituted by William Graybach, a scenic artist, who at present lives in Detroit, to obtain the custody of his 10-year-old daughter, Maggie Graybach. The facts of the case show that Graybach formerly lived in Clyde, where he married a widow, Mrs. Walton [sic.], who already had several children. The child involved in the case is the issue of the second marriage, however. The evidence in the case goes to show that Graybach deserted his wife and family at Clyde and went to Detroit, neither leaving them means of sustenance or word as to where he had gone. The little girl also testified that while she lived with her father, she did not get enough to eat of have sufficient clothing. After he left, she went first to Father Moran’s house, who was a Catholic priest at Clyde, and afterwards to live with her aunt, Mrs. Walton. After a while, the mother, Mrs. Graybach, became insane and was taken to the asylum in Cleveland, and the little girl was kept by her aunt. H. G. Gibbons, of Clyde, was appointed her guardian. Since that time Graybach has come back from Detroit, and asked for custody of his daughter, which was refused to him. He says that he left his wife because she gave all her attention to the Catholic church, and told her that he would go back to support her if she left the church. The little girl, when asked, said that she preferred to live with her aunt.

The friends of Mrs. Walton, the aunt, claim that the mother’s insanity was caused by Graybach’s desertion, and say that he is not a fit man to have charge of children. Graybach, on the contrary, says that he earns $50 a week, and can support her, and that he objects to having her brought up in the Catholic church.

It was rumored that an anti-Catholic society was helping Grayback push the case, but B. F. Reno, his attorney, denied that, and said that the society had nothing to do with it. During the trial of the case yesterday an effort was made by a constable in Clyde to arrest Graybach on the charge of abuse and desertion of family. Judge Millard would not permit it, however, and Capt. Egbert Doville went on to Graybach’s bond to appear in the case at Clyde. The case is complicated, and is exciting a good deal of interest.

The conclusion to the case was published in “The Clyde Enterprise” on July 7, 1892 (page 3): In the matter of Graybach’s daughter, the custody of the child was given to her father, though she desired to remain with her aunt. When the case against Graybach for neglecting and deserting his family was called he failed to appear, having taken the little girl and left the city.”

By 1894, William, his three children and second wife moved west to Nebraska – four states away. In Omaha, he became associated with Boyd’s Opera House. This association was first mentioned while visiting his older brother John in Grand Island, Nebraska.

On Feb 14, 1894, “The Grand Island Daily Independent” reported, “Mr. Wm. Grabach, a brother to John Grabach who runs the Koehler Cigar and News stand is in the city for a week visit. He is a scenic artist and has quite a reputation among western artists, making his headquarters at the Boyd in Omaha. This is the first time the two brothers have met in ten years and they are thoroughly enjoying the event” (page 4). Brother John had also gone through some pretty horrific times. In 1875, his second wife made newspapers across the country; she tortured her step-daughter to death. It occurred after a miscarriage and she claimed to have been possessed by the devil.  I cannot image the horror of losing a child that way. Members of the Grabach family continued to make headlines over the years; bizarre stories that make you just shake your head in amazement. Yes, I have included quite a few beyond theatre projects, hence the length of this post.

From 1895-1901, William Grabach was listed in the Omaha City Directory. He consistently worked as a scenic artist in the region and was making quite a name for himself. Here is the listing:

1895 scenic artist, Boyd’s Theater.

1896 scenic artist, Creighton Theatre, 1817 Davenport

1897 scenic artist, Creighton Theatre, r. 203 S 24^th.

1898 artist, r 203 S 24^th.

1899 scenic artist, Benson Place.

1900 scenic artist, Boyd’s Theater.

1901 scenic artist, b. Barker.

His painting work was varied, with multiple projects making headlines throughout the region. Here are a few newspaper articles describing some of the projects:

On April 27, 1895, “The Excelsior” in Omaha reported, “The contract for painting the scenery of the Creighton Theatre has been let to Grabach, and Omaha artist, whose studio is in Boyd’s theatre. Fisher & Lawrie will design the scenes in conjunction with Grabach and some excellent work is promised. The first story of the new theatre has been reached and work is progressing rapidly. From all indications theatre will be completed by the date set by the managers for the opening” (page 2).

On August 24, 1895, “The Courier” in Lincoln, Nebraska described Grabach’s drop curtain in detail: “A drop curtain from the pen of William Grabach is perhaps the most striking single object in sight. Departing from the usual custom, the artist has produced the shocking daub which too often stares theatre audiences in the face and harrows up their artistic souls, but a representation of drapery, sever in disposition and in tone harmonious with the dominant tints of the interior. This curtain, the somber beauty of which will grow upon the public, is reinforced by another, a massive structure of sheet iron, braced and rivets, and so accurately balanced that a minimum of force rightly directed will move it in its appointed channel. By means of this ponderous wall of metal an impervious barrier may be instantly set up between a fire on either side of the footlights and the other regions of the theatre; and the entire construction of the building, both in point of materials employed and in respect to the number and convenience of exits provided in all parts, has been wrought out to the end for assuming absolute safety, so fare as might be, to audiences and players” (page 7). I have several photographs of Grabach’s work in my theatre collection. Here is one that shows his skill at drapery painting.

On Nov. 1, 1896, the “Omaha Daily Bee” reported “William Grabach, who has been working on the scenery of a new opera house at Lexington, Neb., for several weeks returned home last night” (page 8).

Grabach was credited as the scenic artist at both Omaha’s Creighton Theatre and Boyd Theater in “Julius Cahn’s Official Theatrical Guide” from 1887. At the Creighton, delivered scenery for a production of “Not Guilty” performed by the Woodward Theatre Co. in 1896. An article in the “Omaha Daily Bee” reported, “Tonight they will present the five-act comedy, “Not Guilty,” with special scenery by Grabach” (August 3, page 2).

In 1896, Grabach was also credited with designing and painting a parade float for the Feast of Olympia, given by the Knights of Ak-Sar-Ben that fall in Omaha (“The Excelsior,” 11 April 1896, page 7). Parade floats and other public spectacles were profitable work; the projects eagerly sought after by many scenic artists.

In 1897, Grabach was the President of the National Alliance of Theater Stage Employes. Using that title in a letter to “The Omaha Evening Bee” on June 1, 1897, he wrote:

“Mr. Fritz Wirth. Appreciating your kindness in tendering to us the services of Miss Lynwood for our benefit to be given at Boyd’s theater tonight, we hereby send you a complimentary box for the performance, with many thanks for past favors.

Wm. Grabach

Pres. of the National Alliance of Theater Stage Emp.”

At the beginning of 1897, Grabach attended a Central Labor Union meeting in Omaha. On Jan. 21, 1897, “The Omaha Evening Bee” reported “The exposition matter came up by the reading of a written request from G. M. Hitchcock, asking the privilege of addressed the union on matters bearing upon the exposition. The request was granted, and Mr. Hitchcock appeared before the union, in the capacity of a private citizen, asking the organization to postpone action on its grievance for the present.

President Easton replies to Mr. Hitchcock and said that the laboring interest are up in arms, and are determined that the experience of the labor interests in Atlanta and Philadelphia shall not be repeated in Omaha. He said organized labor would proceed on the theory of “patronizing home industry,” and would insist the home labor be recognized. The president said he did not speak as the representative of the Central Labor Union, but was voicing his own sentiments.

William Grabach of the theatrical employes’ union, supported the sentiment expressed by Easton, and said the laboring interests of Omaha could take care of the matter without “the aid of consent” of any outside labor.”(page 8).

By the mid-1890s, Grabach also became associated with various political activities and the Silver Republicans. After the collapse of the silver market and severe depression in 1893, there was a demand to pass legislation favorable to silver. Heading the political effort was a group of men known as the Silver Republicans. Their attempts and speeches to promote the silver cause ultimately failed. In many cases they were ostracized, yet the party continued into the twentieth century. On July 3, 1900, “The Grand Daily Press” of Grand Island, Nebraska, reported “3 carloads of silver republicans leave Omaha over the Burlington at 10:45 this evening for the national silver republican convention which meets at Kansas City, July 4. The cars are models of beauty, just from the shops. The Douglas county delegates have secured a handsome banner 6×8 containing portraits of Bryan and Towne, painted with a shield representing the national government and surrounded by golden rod, Nebraska’s favorite flower. The work is done in milk distemper color by William Grabach, scenic artist”(page 4). Since the mid-1890s, Grabach had supported the Silver Republican cause in Omaha, attending a variety of meetings and often making the paper. He was also involved with the labor movement in Omaha, cited in a variety of newspapers by the late 1890s; often associated with some conflict or speech at a meeting.

In 1897, Grabach was also credited with the scenery and stage effects for the Woodward Theatre Co. and their extended engagement at the Creighton Theatre in Omaha (“Omaha Daily Bee”  4 July 1897, page 4). Their production was “Wife for Wife” and the “Omaha Daily Bee” reported, “Mr. Grabach has charge of the scenic effects, which will be elaborate.” On Dec. 18, 1897 the Overland Theatre opened in Nebraska City. In 1904, “Julius Cahn’s Official Theatrical Directory” credited the scenery for the stage to “Sosman & Landis and William Grabach, scenic artists.” To date, this is the only definitive connection that I have located linking Grabach with Sosman & Landis. The drop curtain dramatized the 1864 Overland stagecoach attack by Cheyenne Indians in the valley of Little Blue (http://cinematreasures.org/theaters/63839).

Grabach continued to live in Omaha at 203 24th St., frequently leaving town for extended to period to complete one project after another. In 1898, Grabach spent three months in Junction City, Kansas, painting over 150 pieces for the new opera house (Junction City Weekly Union, 12 Aug 1898, page 2). He was becoming a significant artist in the region, doing quite well for himself.  When a family reunion was held in Clyde that year, he returned a success.

In 1898 the Grabach family held a family reunion. On Dec. 29, 1898, “The Clyde Enterprise” described the event in an article on page 3:

“The Grabach family have been holding a family reunion here during the past few days, and among those in attendance are John Grabach and his little daughter Mary of Grand Island, Neb., Philip Grabach, of Eureka Springs, Ark., Jacob Sheets and husband, of Tiffin, George Grabach and family, of Republic, Charles Grabach, of Colby, and Henry, of Clyde. The gathering has been in honor of their mother, Mrs. Elizabeth Grabach, who resides with a grandson on her farm south of Clyde. Another son, Will Grabach, of Omaha, has been expected  but has not yet arrived, and another sister, Elizabeth Leffler, of Ogden, Ill., has been detained by illness. It will  be seen that the family is badly scattered. The members seldom get together, which makes the occasional reunions all the more pleasurable. John Grabach, the oldest of the boys, was a member of the Third Ohio Cavalry with his brother Henry, and with O. M. Mallernee and J. M. Kelsey. In the fight around Atlanta, where half the regiment was lost, John stopped to care for Lieut. Garfield, who was afterwards captured and sent to Andersonville, where he was confined for four months after his term expired. He had a wonderful soldier record, and has since had a great deal of trouble, sickness and death in the family, but he is the youngest looking Grabach in the family today, excepting the ladies, of course.”

His children were six years older, but did not return with him. Completely understandable. Now ages, twelve, fourteen and eighteen, they were settled in the Midwest and planning their own futures. The next summer, the eldest of William’s children was married. On June 23,  1899, his daughter Maggie May Grabach married John L. Glazier in Glenwood Mills County, Iowa. His daughter would go on to make a name for herself as a vaudeville actress.

On Nov. 16, 1899, the “Fremont Tri-Weekly Tribune” reported, “William Grabach of Omaha, is in the city painting new sets of scenery for the Love opera house. Mr. Grabach is well known to the profession, having painted a big percentage of scenery now in Nebraska theaters.” (page 4). He was also working in Junction City, Kansas that year and painted photographic backings. On April 21, 1899, the “Junction City Weekly Union” reported, “Photographer Street has received the new scenery for his gallery painted by Artist Wm. Grabach of Omaha. The several pieces were designed last year when Mr. Grabach was in the city”  (page 4).

In 1899, Grabach was credited with scenery for the Mirror Theatre in Des Moines, Iowa. In an article entitled, “The Art of Scene Painting,” Grabach described his painting process in detail:

“Few theatregoers know anything of the manufacture of scenery that plays such an important part in the staging of productions. Water scenes, wood scenes and interiors are viewed night after night, but no thought is given to the man who created these canvases, Scene painting is a branch of art that exerts greater influence on the public as a while than almost any other form of art, but its influence is subtle. If a wood scene is good, it is not noticed. On the other hand, if it is very bad it detracts from the actor’s art and is commented on by everyone from the dress circle to the top gallery.

Nearly everybody pretends to know something of oil painting and water colors, yet scene painting is water colors on a large scale, and scarcely anybody known of the materials and methods of the scene painter. William Grabach, a veteran scene painter from Omaha, who came to Des Moines last week for the purpose of completing the scenery in the Mirror Theatre prior to the opening of that playhouse by Frank Daniels, permitted a representative of the Capitol to climb up on the high bridge he occupies in the loft of the Mirror stage and explained to him the process of painting a wood scene. The bridge is thirty feet above the floor of the stage and extends the full length of the stage. The canvas is nailed on a wooden frame and so suspended from the ceiling that it can be raised and lowered at will. The scenic artist’s palette is a table six feet long and three feet wide, covered with oil cloth. On this palette are sixteen crocks filled with crude pigments mixed with water; no oil is used in scenic painting. Besides the colors necessary for the work is a crock filled with a thin glue mixed with water. This glue is a fixative and is mixed with the colors, as they are used to keep them from running or rubbing off. The brushes used vary from the size of a lead pencil to the size of those used in whitewashing and are all shapes.

While Mr. Grabach explained the mixing of the colors, he dipped a wide brush in dark blue paint and put the coloring on the oil cloth palette; then he dipped the same brush in the glue crock and worked the glue in with the blue coloring. Beginning at the top of the scene, worked the glue in with the blue color- he made light strokes with the brush and explained that those were the leaves in the shade. The next color to be applies was a light green, which gave the effects of leaves in the light and stood out more prominently than the dark ones put on previously. Occasionally, yellow spots were mixed with the spots of blue and green to give the effect of light seen between the leaves.

When asked to explain how he began the work on the painting, he said:

“The trees in the scene and the main branches were first sketched with charcoal. Then the sketching was corrected, and the chief lines were inked in to insure against any error in proportion. Next the dark coloring, representing the foliage far in the shade, was put on. Then came the painting in of the tree trunks and branches. The foliage less shaded was put on next and I gradually worked in the details until I came to this finishing work, the putting on of the leaves that are to stand out prominently and the correcting of details necessary to make the effort correct as to perspective. All the large yellow spots will be cut out to admit light from the rear and give an airy effect. An invisible netting will be put on the back to hold it in shape and prevent fraying where the holes are cut. Of course there will be no netting over the wide yellow space at the bottom, between the two main tree trunks, as that is left for an entrance.’

Replying to the question asked whether he knew exactly what the result of his work would be when he started the scene, Mr. Grabach said:

“No; the work goes by inspiration to a certain degree. We are asked to do a landscape, a street scene, or an interior, and we sketch in the main objects, but when the work of painting is begun, the plan is frequently changed, and the result is that new ideas continually creep into the scene and we never paint two curtains that area exactly alike. We have to work for effects, and as a man grows more experienced, he learns the bold strokes that will liven up the scene and bring it out. Our work is impressionistic: it is unlike bill painting in that we have to work for bold effects and cannot while away our time on details. A man who is accustomed to doing oil painting is always a failure in his first attempts at scene painting. His work looks flat as a distance, although it may stand close inspection.

In reply to the question, “How long does it take to paint a curtain?” Mr. Grabach said, “That depends largely on the speed of a painter and the class of the work. This scenery I am at work on is 24 feet by 21 feet. I began work on it this morning and am so near done that I will complete it before midnight. Of course, I have worked very hard because the house has to be opened soon, and ordinarily, I do not do nearly so much in a day.”

Mr. Grabach worked at the world’s fair and in New York with scene painters of all nationalities and he says that English and American scene painters excel all others, both in excellence of their work and in speed. German. French, and Italian scene painters spread their canvas on the floor and walk on them while they paint with brushed that have handles as long as those used in brooms. European scene painters are very slow, too, and fail to acquire the striking effects that Americans accomplish so successfully” (page 5). Another article was published in 1913, describing his Portland Studio and the scenery manufacturing process then too.  That article will be included near a little further down.

At the beginning of 1900 Grabach painted scenery for the new opera house in Norfolk and the Hein opera house. On Jan. 5, 1900, “The Madison Star” of Madison, Nebraska, reported, “William Grabach of Omaha, who did the scene painting for the Hein Opera House, will also paint the scenery for the new opera house at Norfolk”  (page 5).

In 1900, Grabach painted scenery for the Parmele Theatre in Plattsmouth, Nebraska. Located on Main Street and 6^th, he was credited at the scenic artist for the venue. Last fall, I acquired a photograph of the drop curtain when purchasing a small set salesman samples from his Pacific Coast Scenic Studio.

The back of the drop curtain photograph states: “Christian Crusade int. tapestry at the theatre (Plattsmouth). The photograph was taken by Leedy & Co., photographers in Plattsmouth, Nebraska. The drop curtain was signed on the front , “Wm. Grabach, P.X.T. Omaha, Nebraska.”  Or PXI? On October 30, 1900, the “Semi-Weekly News Herald” of Plattsmouth≤ Nebraska” included a lengthy article on the new Parmele Theatre on page 4.  The article described Grabach’s drop curtain depicting the Christian Crusade: “The drop curtain, which is certainly an artistic piece of work, represents a scene of the twelfth century, during the occupation of Jerusalem by the Christian Crusaders. It is the work of William Grabach of Omaha, his having also painted the other beautiful scenery belonging to the theatre.” Here is a link to the entire article: https://nebnewspapers.unl.edu/lccn/2016270204/1900-10-30/ed-1/seq-4/print/image_661x817_from_0,206_to_6715,8502/

By the spring of 1900, the Grabachs were living in Papillion, Nebraska at this time. Papillion is due south of Omaha, just between Chalco and Bellevue. On May 24, 1900, “The Papillion Times” reported, “As shown by the county records, James W. Carr last week transferred to Nancy McKay Grabach block 32 in Beadle’s 1^st addition to Papillion, in consideration of $1,000 and farmland in South Dakota. It is familiarly known as the old Beadle property. The Grabach family will take possession some time during the summer. Mr. Grabach is a scenic artist” (page 1). Despite the move, Grabach continued to keep his scenic studio in Boyd’s Opera House. However, he continued to travel across the country as a scenic artist, going from one venue to the next.

At the beginning of 1901, Grabach was credited with a new drop curtains and fancy stage, or parlor setting, for Pierce’s Opera House in Salina, Kansas and the new opera house in Junction City (The Salina Semi-Weekly Journal, 10 Jan. 1902, page 6). On his work, the “Salina Daily Republican Journal” reported, “The curtain is an advertising piece bearing the cards of prominent business houses and in the center is a reproduction of the scene of the entrance of Oak Dale park” (5 Feb 1902, page 1). It was in Junction City where Grabach set up a temporary studio to complete the two projects. The article reported, “Mr. Grabach is an artist of ability and has painted scenery for some of the best theaters in the country.” He also designed photographic backings for Mr. Streeter. The following year, he shipped the paintings to Streeter.

On March 14, 1901, “The Papillion Times” reported, “Wm. Grabach, the scenic artist, has submitted to the manager of Daley’s theatre, of New York City, specifications for the scenery and stage settings for the plays. “Prisoner of Zenda” and “Rupert Hentzaw.” If Mr. Grabach gets this job he will go to New York and personally superintend the setting of the stage for the first play. The manager of the theatre said that the models made by Mr. Grabach and sent to him are the best he has ever seen. The models are made on the scale of one-half inch to the foot. Mr. Grabach has his studio in Boyd’s Theatre at Omaha but expects to build a studio here sometime” (page 1). On May 31, 1901, “The Junction City Weekly Union” reported, When Harry Curry was in Omaha last week he had to visit with Wm. Grabach, the scenic artist who painted the handsome drop curtain and scenery for the Junction City opera house and who designed the color scheme throughout the house. Mr. Grabach is at present working on special scenery to be used in New York in a big production of ‘The Prisoner of Zenda’” (page 4).

On Nov. 29, 1901, “The Junction City Weekly Union” reported, “Wm. Grabach, the Omaha artist who painted scenery for the opera house, is in the city again. He will do some special work for the house, including a handsome advertising drop curtain.(page 2). While in Junction City, Grabach’s daughter even paid a visit (The Junction City Sentinel, 6 Dec. 1901, page 1).

On Dec. 20, 1901, “The Junction City Weekly Union” reported:

“The New Ad. Curtain.

The new act-drop or ad. Curtain just painted by William Grabach, the scenic painter, of Omaha, was used at the opera house last night for the first time. In the center of the curtain is a beautiful autumn scene at the junction of the Smoky Hill and Republican Rivers. The scene is true to nature and in itself speaks well of the artistic ability of the painter. This center piece is surrounded by advertisements of the leading firms of the city. The lettering, arrangement and display of each ‘card’ could not be better. The curtain is the finest of its kind in the state and the talented artist may well feel proud of his work.”

Between 1901 and 1902, Grabach’s world would fall apart, again. It began during the summer of 1901. On August 1, 1901, the “Papillion Times” announced, “Mrs. William Grabach is among the sick ones” (page 1). Despite an ill wife at home, Grabach continued to work and travel throughout the region, heading to Kansas City for an extended project that fall. On Nov. 21, 1901, “The Papillion Times” announced, “Wm. Grabach, the scenic artist, is in Kansas City painting some scenery for one of the theatres at that place” (page 1).  On May 8, 1902, “The Papillon Times” reported, “Wm. Grabach returned to Papillion Tuesday evening. He had been in Kansas City several months painting scenery for one of the theaters at that place. Mrs. Grabach remained in Papillion during her husband’s absence. She is in very poor health and Mr. Grabach will take her to Colorado or some other western state where she can spend a year in the mountains” (page 1). On May 29, 1902, the “Papillion Times” reported, “Mr. and Mrs. William Grabach left Papillion for the west last week. Their destination is Denver, but they are making several stops on the way there. Their first stop is for a few days in Grand Island, then at North Platte, from which they will go to the western part of the state and spend several days and then go on to Denver. Mrs. Grabach’s health is very poor, and it is for this reason that the trip is being made, and her Papillion friends sincerely hope that she will be able to return to Papillion next year fully restored to health” (page 1).

They visited North Platte for a week. On June 6, 1902, “The North Platte Semi-Weekly Tribune” reported, “Mr. and Mrs. Grabach of Omaha, who had been in town a week, went to Denver yesterday” (page 1).

They temporarily moved west, but she did not last long after reaching Denver. Nancy Grabach died on June 26, 1902, and was buried at Fairmont Cemetery in Denver. “Nancy McKay Grabach 1856-1902” is on her gravestone. On July 3, 1902, the “Papillion Times” reported, “A postal card addressed to Mrs. John Dugan, was received last evening, announcing the death of Mrs. Wm. Grabach, at Denver, Thursday afternoon. About a month ago Mr. Grabach started for the mountains with his wife thinking perhaps the change would be beneficial to her disease, consumption, from which she had been very bad all winter and spring, but Providence ruled otherwise. Thursday she was taken with hemorrhage of the lungs and died very suddenly. Her many friends in Papillion will be sorry to hear of her death and extend their sympathy to the bereaved husband and relatives.”

On July 10, 1902, an order of hearing for the estate of Mrs. Grabach occurred and was published in the “Papillion Times” a week later on July 17, 1902. A probate notice to Nancy McKay Grabach’s creditors was posted in the “Papillion Times” on September 25, 1902. William Grabach was appointed administrator of the estate. In 1904, William Grabach,  administrator of Nancy McKay Grabach’s estate, sold her property in Papillion (Papillion Times 7 July 1904, page 7). Grabach stayed in Denver where he continued to work at the Broadway Theatre.

On October 9, 1902, “The Papillion Times” reported, “James Gatewood has rented the Grabach property in North Papillion and he and his family will occupy the place as their home” (page 1). On September 25, 1902, “The Papillion Times” reported, “Wm. Grabach arrived in town yesterday morning from Denver, where he has been since last spring, employed at the Broadway theatre. He tells us he has been very busy all summer as he made new scenery and stage settings for the theatre every week. He has a contract with the above theatre for next summer. As a scenic artist Mr. Grabach has a reputation throughout the United States. He came here to look after his Papillion property and some business matters, but will leave soon for Grand Island, where he has some work to do in an opera house” (page 1). On October 9, 1902, the ”Papillion Times” also reported, “Wm. Grabach, the scenic artist, departed last Tuesday for Minneapolis, Minn., where he has an engagement with a stock company until next spring”  (page 1).

On July 20, 1903, William Grabach was married to Romelia M. Burton Hayes in St. Joseph, Michigan. At the time, Romelia was 42 yrs. old and living in Benton Harbor, Michigan. In Berrien County marriage records, Romelia mother was listed as Margarie. No other information was provided about her parents. Again, his last name was spelled Grayback. This was the same person, with his parents matching past records, despite misspellings.  He was listed as an artist, currently residing in Chicago. This also coincides with a Sosman & Landis collection, that puts Grabach in the right place to coincide with the Portland Scottish Rite project.

Some family genealogies suggest that Romelia M. Burton Hayes went by the nickname of “Emma.” I am not quite convinced. The 1910 US Federal Census listed Emma Grabach as William’s wife for 15 years, making their marriage 1885, the year after Paul Grabach’s birth. This is perplexing, unless he was a bigamist; and that factor would put the accusations of his daughter-in-law’s bigamy in perspective (that story is coming up later). It could also explain when he left his first wife in 1891 and moved to Detroit.

He continued to travel throughout the region and on Nov. 4, 1902, was mentioned in the “Minneapolis Journal.”  “The Two Orphans” was playing at the Orpheum. The article ended with, “Like all of the Ferris productions ‘The Two Orphans’ has been elaborately staged. The scene painter of this organization, William Grabach, has done much to contribute to its success” (page 4). It was about this time that Grabach reconnects with Sosman & Landis. Part of me wonders if he was a represented the company as a western sales representative, focusing on the region west of Omaha.

The connection at this time between Sosman & Landis and Grabach is the Portland Scottish Rite. Between 1902 and 1903, Sosman & Landis delivered scenery and stage machinery to the Scottish Rite Theatre in Portland, Oregon. The grand opening of the Portland Scottish Rite occurred on May 19, 1903. Scenic artist and later president of Sosman & Landis, Thomas G. Moses recorded that he supervised the manufacture scenery for the Portland Scottish Rite. However, he was also running his own firm at the time in New York – Moses & Hamilton (1901-1904). This did not mean that his association with the Chicago-based firm completely ended during this period. However, in later years, Grabach also delivered some stage settings to the Portland Scottish Rite. It is also possible that Sosman & Landis subcontracted a portion of later work to former-employee Grabach. This was a standard practice as many former employers operated regional branches for Sosman & Landis, always being careful to never compete and share a small percentage of the profits with the firm.

In 1904, Grabach painted the drop curtain for the New Grand Theater in Sioux City, Iowa. On Sept. 6, 1904, the “Sioux City Journal” reported, “There were cheers when the drop curtain rose on the performance of the evening…The drop curtain was painted by William Grabach, Omaha” (page 5). By 1904, Grabach was also credited with the scenery for the New Theatre in Missouri Valley, Iowa, and the Huntington Theatre in Huntington, West Virginia.

Between 1904 and 1905 Grabach and Otto Schossling ran the firm Grabach, Schossling Co, Theatrical Scenic Artists, in Chicago. They advertised in the 1904-1905 Julius Cahn’s Official Theatrical Guide.” They were the proprietors and manufacturers of NOFLAME, the “only solution having the official approval of Chicago” stating that “Ninety-five percent of all scenery used in Chicago since the Iroquois fire has been fire-proofed with our solution. They were located on 125 South Clark Street in Chicago.” Grabach & Schossling were located in suite 76 at 125 Clark were listed in the 1904 Chicago Business Directory in the Artists section.

By 1905, Grabach relocated to Portland, Oregon where he initially worked at the Belasco Theatre before opening Grabach’s Pacific Coast Scenic Co. in 1906.  Both Grabach and Schossling had previously worked in Belasco’s scenic art department, New York. Schossling would leave a few years after that and head in the opposition direction, to Massachusetts. On July 20, 1908, the “Daily Kennebec Journal in Augusta Maine (page 10) reported, “Frank Munsey has resigned his position as scenic artist at the Lakewood Theater on account of poor health and with his son has returned home in Salem, Mass. He is succeeded by Otto Schossling of Chicago, The latter will paint the new drop curtain before the season closes. On Aug 15, 1908, the “Chicago Tribune” reported, “Mr.  Marvin will make his headquarters at the College theater, with Otto Schossling, at one time at the head of Mr. Belasco’s scenic art department, in charge” (page 8).

The story of William Grabach’s move to Portland was published in “The Clyde Enterprise” on October 23, 1913 (page 8).

“Mr. Grabach was brought to Portland in 1905 by Belasco & Mayer when those theatrical managers bought and opened the Belasco Theater, afterward known as the Portland and later as the Heilig. Belasco & Mayer secured the services of Mr. Grabach to paint  the scenery for the big productions which the form as making at the stock house. When they abandoned this field of operations, Mr. Grabach, enamored of the climate of Portland, decided to remain and opened Grabach’s Pacific Coast Scenic Studio, which occupies a large plant in South Portland.”

Grabach, Emma and all three children ended up in Portland for a while. Even two of his brothers relocated to the city. The 1906 Portland Directory listed Wm. Grabach, manager Pacific Coast Scenic Co. His studio was located and 43 14^th N, and the Grabach’s lived at 488 Washington. By 1910, Grabach was living with all three of his adult children. Two of the three children were working in the theater industry. His eldest daughter Maggie, now known as Marie Glazier, was touring the vaudeville circuit.  His son Paul was the only one who really followed his father into backstage work. Paul first appeared in the Portland Directory in 1909, listed as a fly man at the Star Theatre, boarding with his father. Over the next few years, Paul worked as a stage hand at both the Portland Theatre and People’s Theatre. He also continued to work for his father at Grabach’s Pacific Coast Inc. After his father’s passing, Paul briefly worked as a stage hand at the Orpheum Theatre in Portland. He later went on to work at the Alhambra Theatre in New York City in 1918, yet eventually settled in Los Angeles. At the time of his passing in 1946, Paul’s occupation was listed as a stage mechanic in the show industry. He is buried at Calvary Cemetery in Norwalk, LA County, CA.

All of the children made headlines throughout the duration of their lives.  

On May 16, 1901, “The Papillion Times” reported “Paul G. D. Grabach, the fifteen-year-old son of Mr. and Mrs. William Grabach of Papillion, has been enlisted as an apprentice in the United States navy, to serve until he is twenty-one years of age. As the government demands the very best boys physically and mentally as well as those of good habits and character, Paul Grabach has reached a place in the eyes of the people that not many boys of his year will ever reach. THE TIMES congratulates not only Paul but his parents as well” (page 1). He later made news when his ship exploded. On July 27, 1905, “The Clyde Enterprise” reported, “Paul Grabach, son of William Grabach, the artist, and nephew of Henry and George Grabach of this city was a member if the crew of the U.S. ship Bennington, whose boiler exploded at San Diego, Cal. Last Friday. Young Grabach seemed to have escaped as his name was not given among the list of the dead.” (page 3). On July 27, 1905, “The Papillion Times” published a picture of Paul Grabach in navy uniform with the caption, “Paul G. Grabach on Board the United States Gunboat Bennington, Blown Up. Paul G. Grabach was a seaman on the ill-fated U. S. Gunboat Bennington, but who escaped injury, is a former Papillion boy, having lived here up to about three years ago, when he enlisted in the navy. Paul is a son of Mr. and Mrs. Wm. Grabach and is at present about nineteen years of age. He attended school here for a number of years and has many warm friends in this vicinity. His mother died two years ago and besides his father, who resides in San Francisco, there are a living brother and sister. The explosion on the Bennington occurred in San Diego, California, harbor, last Friday morning at 10:30 o’clock and was due to a defective boiler, The total casualty list is as follows: Fifty-five identified dead, four unidentified dead, forty-six wounded and one missing” (page 8). Paul also sent a letter to Mrs. Ida Schoregge, the mother of Albert “Allie” H. Schoregge who was not so lucky and passed away after the explosion. His heartfelt letter made the “New Ulm Review” of New Ulm, Minnesota, on August 16, 1905. In his letter, Paul wrote, “My mother shed tears over his body, for she thought as much of him as she does of her own sons. I shall never forget him. It chokes me to think of him. We could never do enough for one another. I do not wish to tell you how we found him as it would only tend to make you feel bad. It was a pitiable sight to see so many buried at one time.”

His older brother William was the polar opposite. By 1910, William Jr. and his wife Edna were also living with the extended Grabach family in Portland. William Grabach, Jr. had married Edna Myrtle Hopkins on January 8, 1906, in Pueblo, Colorado. I wonder how they met…

William “Willie” Grabach Jr., had been making the papers since his childhood, although it was never his own doing but the work of someone else.  There seems to have been a little black cloud that followed junior wherever he went. Already in 1896, he filed a complaint against Charles “Sloppy” Smith for an unpaid loan to buy fireworks. They were both juveniles when the story was published in the new. On July 8, 1896, the case was published in the “Omaha Daily Bee” stating, “The complaint in the case was Willie Grabach, who alleged that he gave Smith 25 cents with which to buy fireworks on the Fourth of July and that Smith never returned after his fingers touched the quarter” (page 8).

In 1906, his wife Edna was accused of bigamy in newspapers across the country. This story is really quite fascinating, and I don’t know how much to really believe at this point.

On March 6, 1906, “The Leavenworth Times” reported that William’s wife Edan was facing with bigamy charges (page 3). In an article entitled “Bride of a Day Held on Bigamy Charge” the subheading stated, “Man Appears After Ceremony and Claims Her.”  This is one of the more interesting side stories that I have encountered, so I am including the entire article.

“Trinidad, Colo., March 5. – Married less than twenty-four hours to Ulmont Humphreys, of Trinidad, Miss Edna Hopkins left him for William Grabach, who, she admitted to Humphreys, is also her husband, and now she is in the county jail and Grabach is in the city jail, held for investigation.

The story is one of the strangest in the police annals of Trinidad, and a true explanation of all connected with it has not been made. What motive the woman could. Have had in marrying Humphreys when she was already married, is too deep for the officers. She declined to talk when arrested last night, and Grabach makes no statement other than she is his wife.

Humphreys, who is a well-known young man employed by the Santa Fe road, is perhaps more astounded by the strange events than anyone else. Humphreys and the woman, who is known to him as Edna Hopkins, were married Monday night at the parsonage of the Baptist church by Rev. B. F. Lawlor. They went immediately to the groom’s house, and there a number of Humphrey’s friends called there, and a small celebration of the event was held.

Humphreys says that he has known the woman for five years, and during most of that time has been courting her. She formerly lived in Trinidad, and has been coming back to the city at intervals and working here. At one time she worked at Humphrey’s home. About five days ago she returned to Trinidad after a lengthy absence, and Humphreys set about the preparations, which culminated in the ceremonies Monday night, Yesterday afternoon, Humphreys says a man introduced himself as William Forbes and said that Mrs. Humphreys was his wife. Mrs. Humphreys admitted in Humphreys presence, that the statement was true. She told Humphreys that she had disappointed him, and upon the demand of the newcomer she went away with him.

Humphreys asked the man if he had a marriage certificate or anything else to prove his statements, and the man replied that he had not. He reiterated , however, that she is his wife and that ‘he would die fighting for her.” The story was also picked up by the “Fort Worth Star Telegram” on Feb. 27 1906, with a slightly different tone and the title “Girl Bigamist Decries Fate. Says She Likes Her First Husband Best” (page 2). The article started with the line “I think I would rather have Grabach,” said Edna Hopkins-Grabach-Humphreys, resting her chin in her hand in a meditative manner as she sat perched upon her cot in the woman’s department of the county jail this afternoon.” The article continued, “Grabach gave me money so I could send out and get stuff, and he is trying now to get bonds,” continued the girl who must answer at the next term of the district court and charge of bigamy.

“He was good to me most of the time, and I think I like him better than I do Humphreys.”

What to do with the girl bigamist is a question which is becoming more puzzling to the officers every day. That she is guilty of bigamy there is little doubt, despite her plea of not guilty. The penalty of bigamy is a penitentiary sentence, but officers have no desire to send her to the penitentiary. Many of them do not believe that she is responsible for what she did, although she is by no means insane.

William Grabach, the first husband of the woman, is making an effort to secure bond for his wife. He is not allowed to see her, but she stands by the bars of her cell window all day and raps on the glass when he appears and smiles sweetly at him.

“It is all the fault of John Forbes, who lived at our house, boarding there when we were first married, “said the girl bigamist. “Mr. Grabach used to get drunk and threaten to knock my head off, but he never hurt me, nor ever tried, and was only joshing. I knew that he did not mean it, but it made Johnny awfully mad, for he could not bear to see a woman abused. He advised me to go away, and I did not know any place to go but Trinidad. I have known Humphries for four years and was engaged to him before I married Grabach. I asked Johnny if I ought to tell people here that I was married, but he said it wasn’t necessary, and to use my maiden name.

“I didn’t know it was a crime to get married again. My mother is dead and maybe my father too, because I haven’t seen him in two years. I just never heard anybody said it was a crime, and I didn’t know it.”

Mrs. Grabach is short and plump, with large, eloquent brown eyes, and would be considered good looking anywhere.”

In 1918, William Grabach Jr.’s physical appearance was described on his WWI Draft, describing medium height, stout build, blue hair and dark brown eyes. The sight in his left eye was gone and he was employed as working as an assistant cook in Index, Washington. He was still married to Edna.  

Shortly after this scandal, Grabach expanded his Fraternal connections. William Grabach Sr. joined the Ancient and Accepted Scottish Rite of Freemasonry, becoming a 32^nd degree Mason on June 11, 1907.  The following year, he joined the Al Kader Shrine on January 18, 1908. This was also his shoe-in for future work. Purportedly he had been raised a Master Mason in Minneapolis, but this just doesn’t make sense when looking at his timeline, and I have to wonder if it were the same Will Grabach or another.

By the spring of 1909, William began expanding his operations. In March 1909, Grabach rented out his old studio.  The ad listed, “FOR RENT – 2 floors 50×50 each, suitable for manufactory or as storage, long time lease, reasonable rate. Call or address Wm. Grabach, Front and Sheridan St. On October 15, 1909, “the Oregon Daily Journal” announced, “Scenic Studio Co. is Incorporated” (page 2). The announcement stated, “William Grabach, Samuel Kingdon and Warren D. Kingdon have incorporated Grabach’s Pacific Coast Scenic Studio, with a capital stock of $25,000.” In 1909, Grabach’s studio was located at 383 ½ 5th St.

A few years later, his new studio was featured in a lengthy article. On Feb. 15, 1913, the “The Post-Crescent” of Appleton, Wisconsin published an article of Grabach’s painting process for the upcoming Panama Exposition. (page 4):

“The following is a part of an interview with a rising artist, William Grabach of Portland, Oregon, who is painting a picture one mile long for the panama exposition:

“We started on our tour of the studio – and believe me, it is some tour. We went down, down, down step stairs until we reached the ground floor which opens out into the gulch. Everything is pretty and green there, and you would think you are in a country far from the meddling crowd. A wagon road leads up to the door, and by tit a lumber mill. This floor of the studio is a small mill in itself. There are rip saws, planning machines, shapers, and a dozen other appliances whose names and uses I do not know. Here the rough lumber is dressed, shaped and prepared for use in the carpenter shop on the floor above where frames are put together, fireplaces made, and other stage effects are worked out, When the frames are made, they are covered with canvas, and receive a coat of priming, Then away with them to the next floor above – to the studio proper, where we find the artists at work – one being Mr. Grabach’s son, who is married, alas! Here the painting is done; and of interest is the table on rollers, with dozens of pans filled with colors – a very large palette, indeed! Instead of climbing up and down (as painters do who paint your house) to reach the high and low places on the immense drop curtains, the curtains and scenery on which they work is raised and lowered by weights and pulleys.

“On this same floor is a large rehearsal hall, which has all the rigging loft, fly gallery, lights, and in fact everything exactly like a stage of a theatre. Here the ‘sets’ can be placed, the drop curtains raised and lowered, and the productions given so that the artists can see how the whole scenery will appear at the theatre. You see how the rough lumber goes in the ground floor, and comes out at the main entrance a palace, a woodland, or an Iceland scene.

“This is really the best equipped scenic studio on the Coast,” Mr. Grabach was telling me. I have been in them all, and I know. This is an absolutely ideal spot for a studio. I guess this is the only scenic studio ever built by the artist himself for seldom is an artist able to finance his plans. It is only possible when he has a co-operative wife who is in reality the master commercial mind of the firm.”

“There is nothing you can think of that you cannot see and sketch from this window,” We looked out through one of the many big windows in the studio. Before us the beautiful East Side, the mountains, the fields, church spires, beautiful homes, ships on the river, bridges, mansions, and cottages,

“Isn’t it beautiful?” he continued with a sweep of his artistic hand toward the panoramic view. “When we can’t do the thing we wish to do, we come to the window and see how God did it, and get inspiration from that.”

“From the rehearsal hall. We went to the sanctum, where Mr. Grabach makes the beautiful water color sketches of scenes and settings. Here are many valuable volumes on costumes, architecture, and the stage, and is where I found the model theaters, many of them, and perfect in every detail. One feels a great desire to draw little paper actors and give a penny performance as they do in  childhood land.

“Mr. Grabach’s parents were Iowa farmers. He did not like the farm, nor the shoe business, in which he was engaged with a brother in Northern Ohio [Henry Grabach in Clyde, Ohio, c. 1879; Henry Grabach even held an 1881 patent for an improvement in shoes https://patentimages.storage.googleapis.com/2e/c5/37/6b63b239d47541/US244588.pdf].  The shoe­­­­ business did not fit.

“I had ambition to become an artist,” said Mr. Grabach, “and attended the Cincinnati School of Art. Then I worked with famous celebrities in the scenic world like Burrage [sic. Burridge], Albert, Vochland [sic. Volland], and others. I always desired to be an artist, but the scenic part of it worked itself out when I found I was best suited for that kind of work.”

“When you receive an order, it is left entirely to you, regarding the design and color?” I asked.

“They tell me what it’s to be used for, and how, and then I work the rest and very often make models which I submit.”

“Oregon has the most wonderful scenery in the world,” he concluded enthusiastically.”

Meanwhile, his daughter was also making a hit on the vaudeville stage. Marie Glazier was pictured in “The Oregon Daily Journal” on February 12, 1911 (page 33). Glazier was performing with Arthur Dunn in “The Messenger Boy.”  The article reported, “Miss Glazier is well known in Portland, having been raised here in the very shadow of the footlights, as her father is William Grabach, the scenic artist. Miss Glazier appeared in prima donna rolls in several leading musical comedies, prior to her entrance to vaudeville two seasons ago. Since that time she has appeared with Mr. Dunn, who also abandoned the musical comedy world. Mr. Dunn starred in the New York production of “The Chaperons” and other large offerings before joining forces with Miss Glazier.” Marie Grabach Glazier outlived both of her brothers passing away on Sept. 2, 1947 in Los Angeles and is buried at Inglewood Park Cemetery in Inglewood, LA County, CA. Her husband John Leo Glazier (1873- 1939) was an insurance salesman.

Both daughter and father’s careers were soaring at the same time.

At the end of 1911, Grabach painted a drop curtain for the Grants Pass Opera House, constructed by H. C. Kinney at a cost of $9,000 in 1907, The 700-seat theatre included a stage measuring 50-feet wide, 50-feet high and 40-feet deep. On January 21, 1912, “The Oregon Daily Journal” reported, “The drop curtain was painted by William Grabach of Portland and represents a scene on the Rogue River near the city, with the green and never barren hills in the distance” (page 31).

In 1912, Grabach’s studio delivered scenery for a production entitled “Call of the Wild” at the Orpheum Theatre in Oakland, California. On September 12, 1912, the “Oakland Tribune” in California reported, “new scenery for the production was painted by William Grabach in his Portland Studio.” Grabach delivered scenery for “Call of the Wild” starring Miss Rea Mitchell and Scott Law in 1912 (“Oakland Tribune, 2 Sept. 1912, page 16). His career was soaring, but would be snuffed out at the age of 57 yrs. old. Just a few months before his passing. Grabach again made headlines; this time in a good way.

On March 23, 1913, Grabach’s portrait was included “The Oregon Daily Journal” with the caption, “William Grabach, who painted the 600-foot scene of the Pacific Highway, which was exhibited at the [Portland Auto] show” (page 43).

That same year, William and his son battled over a purported promissory note in Justice Bell’s court. On April 24, 1913, “The Oregon Daily Journal” described how Grabach’s son accused his father of not paying a promissory note.

William Grabach died on Oct. 2, 1913. His death certificate filed, with the state of Oregon, listed his birthdate as July 20, 1857, contesting previous census reports and other historical records. It is wrong, which also meant that his gravestone was wrong; Emma did not know the full history of her husband or was in the depths of mourning. Williams’ father was listed as “not known” and only the first name of his mother was given on the certificate.

On October 4, 1913, his obituary was published in “The Oregonian” on page 9:

“SCENIC PAINTER IS DEAD
William Grabach Succumbs to Paralysis, Aged 56 Years.
A victim of paralysis, William Grabach, a noted scenic painter, died at his home in this city Thursday. Mr. Grabach was 56 years old. He came to Portland in 1905 to paint scenery for Belasco & Mayer when they opened the Belasco Theater, afterward known as the Portland and the Hellig. When they abandoned his field, Mr. Grabach remained and opened the Pacific Coast Scenic Studio, which occupies a large plant in South Portland. Sr. Grabach is survived by his widow, a son and a daughter, who is on the stage. Funeral services will be held at 12:30 P.M. Sunday at the Scottish Rite Cathedral by the Masonic Blue Lodge.” He is buried at River View Cemetery, Portland, Multnomah County, Oregon, Sec. 105, Lot 114, grave 1.

His funeral was held at the Scottish Rite Cathedral, located at Morrison and Lownsdale, on October 5, 1913 (The Oregon Daily Journal, 5 Oct 1913, page 15).

On October 10, 1913, “The Oregon Daily Journal” reported, “Estate Artist of Weel [sic.] Known Artist is Probated. The will of William Grabach, who died October 2, was filed with the county clerk yesterday for probate. The value of the estate is not given, but the principal property listed is his photographic studio, which was known as Grabach’s Pacific Coast Scenic Studio. His wife, Emma Grabach, is named executor, and in addition two sons and a daughter survive.”

Despite his passing, Grabach’s Pacific Coast Scenic Co. continued to thrive.

In 1914, the firm delivered scenery to the new National theatre, at Park, West Park and Stark Streets. On Nov. 1, 1914, an article describing the new venue included a studio advertisement in “The Oregon Daily Journal” on page 45. “Scenery for the New National Theatre was painted and installed by Grobach’s [sic.] Pacific Coast Scenic Studio, Front and Sheridan St. Phone a-5452. The Largest Scenic Studio in the World.” From 1916 to 1917. Emma was listed in the Portland Directory as the president of the firm, and then there was a change in command.

On March 4, 1917 (page 57), the firm advertised “SCENIC STUDIOS Pacific Coast Scenic Studio, Miller & Misner, Props., 632 Front St., Main 4853.” This was Ernest Miller, and he will have his own post. For now, some of his scenic art legacy is still housed in Twin Falls, Idaho.

In 1918, Emma was still living at 632 Front, but not listed as part of the firm. However, she was working as a seamstress for the company in 1920. William Grabach Sr.’s wife Emma remarried after his passing, becoming Emma Dillon. Her passing was published in “The Oregonian” on May 15, 1930 (page 21): “DILLON – Emma, aged 72 years, late of 4354 63d St. S.E., beloved wife of W. F. Dillon; also survived by one stepdaughter, Marie Glazier of Hollywood, Cal.; one stepson, Paul Grabach of Los Angeles, Cal.; also survived by one niece, Florence Woolery. Funeral services will be held Thursday, May 15, at 2 P.M. at the Chapel of Jacobson Co., Foster rd. at 91st St., under auspices of Myrtle chapter, O.E.S. Interment Riverview cemetery.”

In 1913, Grabach had said that his wife was “the master commercial mind” of his scenic studio.

William Grabach and the Pacific Coast Studios have popped onto my radar several times in the past few years. Most recently, I acquired some of the firm’s installation photographs. In 2020, Eric D. Hanson brought an Abe Book listing to my attention. It was a small collection of ten salesman sample photographs of painted backdrops. It was advertised as “ten salesman sample mounted photographs of painted backdrops and tableaux for stage productions, the Scottish Rite Freemasons, and Knights Templar in Portland, Oregon in the early 20th Century.”

The description of the collection noted,

“Ten mounted silver gelatin photographs, sized from 6.25 x 8.25 in. and 5.75 x 8 in. up to 7.5 x 9.75 in. mounted on studio boards in gray, some w/ embossed borders in blind, others in brown, sized from 10 x 12 in. up to 11 x 14 in., 3 w/ dittoed typed labels on versos, 1 w/ printed label of Grabach’s Pacific Coast Studio on verso, all stamped w/ M.V. Lermer Scenic Studios on verso, a few w/ annotations, and pencil notes, 1 w/ photographer’s imprint at lower left corner on recto of board (some edgewear, soiling, minor lifting to a couple of the images, a few w/ minor soiling on the images, boards w/ wear to corners & fore-edges), still VG- set of photographs, w/ most retaining bright strong contrast. This small archive of mounted sample photographs for two scenery firms in the Pacific Northwest, illustrate the continual need to supply Scottish Rite Freemasons, Knights Templar lodges, and theatre groups with historical tableaux in the opening decades of the 20th Century. The first shows a pastoral scene in the Holy Land with painted drapes and marble columns framing the scene, and signed in the lower corner by Grabach for a production in Plattsmouth, Nebraska about 1901. This is followed by backdrops for 32nd Degree 1st Section Scottish Rite ritual featuring a tent with interior opening against setting of field of tents; tableau for 30th Degree ritual featuring a Medieval castle backdrop, and burning stake and fagot in the foreground on stage; a backdrop for Knights Templar ritual depicting the Return of the Crusaders before a Medieval Castle and cross glowing overhead; and a scene featuring grand marbled hall and throne for Ninth Degree Ritual. The photo for the Ninth-Degree ritual had actually been ordered by the Portland Scottish Rite Temple for a 15th Degree, but W.H. McConnell, who was a partner with Lermer explains in extended note this was not the right scene, and in addition notes about the sample photos to “Please send these back as soon as possible.” The last three include a Tableau with lion rampant emblazoned on shield above a great hall, another marbled hall with curtains furled on the drop, and another revealing stage seats, and ferns in foreground within the image. Grabach (1857-1912) was a scene painter who worked in Indiana, Missouri, Ohio, and then Nebraska for a time for the Boyd Theatres, before moving to Sosman & Landis in Chicago, IL before moving to Portland, OR in 1905 to open Pacific Coast Scenic Co. by 1906. He specialized in producing drops for Scottish Rite Temples, the G.A.R., and also for the Belasco Theatre. He is best remembered for his 600-foot-long painting of the Pacific Highway for the 1913 Portland Auto Show next to the Hupmobile Display. Lermer (1890-1967) was a scene painter and artist who began working for Grabach’s studio before World War I, and later set up as M.V. Lermer Scenic Studios while creating backdrops and scenery for local Silent Movie studios in the 1920’s. He partnered with W.H. McConnell as Lermer & McConnell Scenic Studio, Theatrical Supplies at 632 Front for about two years, but the business appears to have folded during the Great Depression. See: Michael D. Robinson, William Grabach: A Scenic Artist, Oregon Scottish Rite Temple Files (March 26, 2019).”

To be continued…