Copyright © 2022 by Wendy Waszut-Barrett
In 1920, Thomas G. Moses wrote, “I interceded for Parker, formerly of Sosman and Landis with Mr. Hunt, and I think he will engage him to go to New York City.” At the time. Moses was working for David H. Hunt at New York Studios. He was referring to the scenic artist Seymour D. Parker (1849-1921).
Parker’s father was the well-known comedian Joseph Parker. His parents traversed the country as performers, settling briefly in Detroit, Michigan, where Seymour D. Parker was born in 1849.
The 1850 US Federal Census listed the Parker Household in Detroit as including actor Joseph Parker (37 yrs.), his wife Susana (40), daughter Josephine (13 yrs.), daughter Louiza [Julia] (5 yrs.), and son Seymour (1 yr.). In addition to his immediate family, Joseph’s household also included actor Seymour D. Shaw (32 yrs.), Joseph Shaw (57 yrs.), Patrice Shaw (40 yrs.), Bridgett Dwyre (18 yrs.) and Bridgett Campbell (36 yrs.).
It is very difficult to track any family that toured with theater productions. Seldom did they appear in census reports, being on the road for much of their lives. In most cases, I have to link snippets of information extracted from newspaper articles, directory listings, marriage records, birth certificates, and obituaries. Many of the Parker children remained connected with the theater throughout their lives, working as painters and performers. I was able to glean a little more information about Seymour’s father from his sister’s obituary. Julia Parker was a few years older than Seymour, married actor J. B. Polk in 1867. It was her obituary published in “The Baltimore Sun” on June 22, 1900:
“Mrs. Julia A. Polk, wife of J. B. Polk, the well-known actor, died Wednesday of apoplexy at the family residence, Charles and Hamilton streets. The funeral will be held today.
Mrs. Polk was the youngest daughter of Joseph Parker, a comedian well remembered in Baltimore. She was also a half-sister of Mrs. Charles B. Bishop. Mr. and Mrs. Polk were married in this city in 1867 while the bride was playing in Ford’s Street Theatre. For many years the clever couple won favors in this country and Australia” (page 7).
Charles Burke Bishop (1833-1889) also performed as a comedian and was quite well known in the Baltimore area. For context, the pall bearers at his funeral included many theatrical greats, including Daniel Frohman and E. H. Sothern. Bishop played comic roles with the Sothern company and died during a performance of “Lord Chumley.” He exited the stage, was laughing merrily, and then died a few moments later of a heart attack. His wife Josephine was with him when he died; her stage name was Jennie Parker. Her obituary commented that she first appeared at Ford’s Theater, Baltimore, and later was a members of Edwin Forrest’s company (“New York Herald, 29 May 1918, page 7). Josephine “Jennie Parker” Bishop was the daughter of Joseph Parker and his first wife; she was Seymour D. Parker’s half-sister. I have yet to discover the name of Joseph’s first wife. However, Seymour D. Parker’s mother was Susana, Joseph Parker’s second wife.
After the Civil War, Joseph, Susana and the extended Parker family moved from Detroit to Baltimore. The Parker family resided at174 N. Exeter. By this time, Josephine had left home and was working as an actress in California, starring with the Stockton Theatre.
Seymour moved to New York and worked for to Henry E. Hoyt. Parker described his early career in a 1913 article about Parker that was published in Rochester’s “Democrat and Chronical” (New York, 8 July 1913, page 24). The article detailed, “Mr. Parker was a pupil of Henry E. Hoyt the noted scenic artist of New York city, who painted all of the bigger and more important scenic effects for the presentation in the Metropolitan Grand Opera House. For three years Mr. Parker himself held this position of responsibility. For eight years he was the scenic artist in the Montauk and Park theaters in Brooklyn, and for four years he held a similar position in the National Theatre, Montreal.”
By 1870, the US Federal Census listed Seymour’s father as an artist. At that time, the household included Joseph Parker (56 yrs.), Susana Parker (40 yrs.), Julia (21 yrs.), Seymour D. Parker (19 yrs.). Willard Parker (17 yrs.). Charles Parker (14 yrs.), Clarke Parker (10 yrs.), John Parker (7 yrs.), and both a domestic servant and boarder. Over the years Joseph Parker had also worked as a scenic artist over the years between performances. It was even mentioned in his obituary. On Jan. 1, 1872, the “New York Herald” reported, Joseph Parker, a veteran actor and scenic artist, died in Baltimore on Saturday night, the 30th. Mr. Parker had many friends, professional and otherwise, and ‘retires’ from the busy stage life amid their regrets” (page 5). Years later, the “St. Joseph News Press” in Missouri, remembered, “Mr. Parker’s father, the late Joseph Parker, was a comedian of the old school and a scenic artist as well. He was associated with the late John T. Ford in the old Ford Stock Company in the Holiday Street Theater in Baltimore” (12 Feb 1913, page 6).
After the passing of his father, Parker moved to New York. By 1874, Seymour D. Parker was listed as a painter in the New York City directory, living at 40 Johnson in Brooklyn. This is likely when he was working as an apprentice to Hoyt. The following year he married Sibyl Voughan in Manhattan. By 1878, Parker was working as a scenic artist in Boston, boarding a 359 Tremont. However, this does not mean that Parker was solely working at Boston Theaters. Parker was continued to make a name for himself throughout the region and work on a variety of projects.
By 1885, Parker returned to New York, listing his permanent residence in Brooklyn, located at 171 Adelphi in both 1885 and 1886. By 1887, he was living at 126 Jefferson in Brooklyn and working at the Criterion Theatre. On August 3, 1887, the “Plainfield Daily Press” reported, “Mr. Seymour D. Parker, the well-known scene painter from the “Criterion Theatre,’ Brooklyn, will begin operation, it is expected, to-day on the scenery in Music Hall” (page 1). As most scenic artists at the time, Parker delivered painted illusion for a variety of entertainments. His skills extended beyond skillful painting. He was well-versed in scenic illusion and the stage machinery that facilitated successful spectacles.
On May 31, 1888, the “Buffalo Commercial” credited Parker as the visionary for the Niagara attraction at Coney Island (page 2). The article reported, “What promises to be one of the most unusual and beautiful combinations of art and mechanism that has ever been exhibited in this, and possibly in any other country, is now being constructed and painted in the Sea Beach Palace, at Coney Island, by Mr. Seymour D. Parker, the well-known scenic artist of Brooklyn, whose brain first conceived the idea.” The article continued, “This is the handsome manner which a Brooklyn paper begins a description of the ‘marvelous’ reproduction of ‘Niagara by the Sea.’ (By the way, between ourselves, we can bear to think of Niagara reproduced at Coney Island; it will be the harmony with the colossal cow, the white elephant and other wonders of that resort. But think of Coney Island reproduced at Niagara! That is what might have been and just what the state purchase saved us from.) The Coney Island Niagara will occupy a space measuring 150 feet by 90 in the Sea Beach Palace. ‘I the foreground is a huge tank, 70×59 feet and 3 feet in depth, into which the water from the falls is to pour from smaller tanks concealed from views on top of the huge bulk of papier mâché, twenty feet in height, which forms the vast curves of rock so well known to the tourists who have visited Niagara.’ The ‘skeleton’ of the Falls is wood with papier mâché background and a rubber-lined ‘brink’ – which will be ‘shellacked,’ we are told, so as it gives a fine realistic effect.’ The canvas in which the sky is arranged’ is transparent, to admit of sun and moon effects, and will also allow of the reproduction of a thunder shower with the usual accompaniment of lightning flashes.’ The water will not fall in any great abundance, but the painting of the rocks and the lights to be used will make it, to all appearances, resemble the volumes and force of the real body from which it has been copied. The cloud of spray which always hovers over Niagara Falls will be introduced. The candor and modesty of this prospectus are to be commended at least. The water will not be as ‘abundant’ as it is at the real cataract, but we dare say it is at the real cataract, but we dare say it will hold out much linger that it does at those ‘falls’ in the Catskills where they hold back the water by the dam and let it dribble five minutes for twenty-five cents.”
As a scenic artist, Parker painted the drop curtain for the Stillman Music Hall in Bridgewater, New Jersey. On June 7, 1888, “The Courier News” announced, “The proposed curtain was described in THE NEWS of Sept. 2d, 1887. It will be an elaborate affair, superbly painted by Seymour D. parker, scenic artist of the Criterion Theatre, Brooklyn. It will be gorgeous with colors which will represent the appearance of real lace, velvet and satin. And the centre will be a beautiful representation of an ancient Grecian theatre in ruins” (page 1).
The end of summer Parker secured a staff position at the Park Theatre. The venue was now under new management, although the venue was commencing its fifteenth season. The New Park Theatre was managed by Col. William E. Sinn and Mr. Walter L. Sinn. On Aug 18, 1888. Brooklyn’s “Times Union” announced, “Mr. Seymour D. Parker has been appointed scenic artist of Col. Sinn’s Park Theatre” in the Greenroom Gossip section (page 2). Parker remained at the Park Theatre for the next few years.
In 1889 the Parker family suffered the loss of Josephine “Jennie Parke” Bishop’s husband. On Oct. 18, 1889, the “Brooklyn Daily Eagle” announced the passing of Parke’s brother-in-law; Josephine’s husband, Charles Bishop (page 11). The article reported, “Charles B. Bishop was very well known to Brooklyn theatergoers. He played his last engagement here at the Park Theater, November 31, 1888, in the same part in which he appeared for one scene last week – Adam Butterworth in ‘Lord Chumley.’ Mrs. Bishop is a sister of Seymour D. Parker, the scene painter at Park Theater. Speaking of Bishop’s life Mr. Parker said to-day that the actor was born in Boston, and that he started South with Wilkes Booth near the time of the breaking out of the war. He was quite as red hot a Secessionist as Booth and his desire was to reach the side of the Southern States where his side of the controversy had the most eager champions. He was stopped, however, at Baltimore and began there his career in an engagement with John T. Ford.”
On Aug. 21, 1890, the “Brooklyn Daily Eagle” announced, “Manager Sinn’s Theater a Thing of Beauty…New Park Theatre- it has been entirely rebuilt” (page 2). The article continued, “The stage, under the guidance of J. H. Thompson, has been entirely reconstructed, enlarged and furnished withal modern machinery and appliances, which will enable the management to present any production which can be placed on any stage.” Part of the renovation included new scenery painted by Parker. The article detailed, “The new asbestos curtain, painted by Seymour D. Parker, is considered the finest painted asbestos curtain in the country. And this is given no small praise to Mr. Parker when the difficulty of painting on asbestos is taken into consideration.”
Parker remained associated with the Park Theater as the venue’s scenic artist, but began to take on other projects.
By the summer of 1891, Parker’s his name was linked with Frederick Warde and Louis James. On Aug. 9, 1891, “The Brooklyn Daily Eagle” reported, “Fredrick Warde, the tragedian, has returned from White Lake, where he has been spending the summer, and will begin active preparations for his opening, which occurs on August 24 at Detroit. Mr. Warde had added a prologue to ‘The Lion’s Mouth,’ and Seymour D. Parker, scenic artist of the Park Theater, has just finished the scenery for it. The scene of the play is laid in Venice” (page 11).
Meanwhile, Parker was painting a variety of other projects. On April 24, 1891, “The Springfield Democrat” published an advertisement that mentioned Parker’s scenic art (page 8). The advertisement announced, “Mr. J. Z. Little in the greatest of all successes, ‘The World!” showing the grand panoramic view, and the wonderful raft scene ‘The Golden Nugget!” In a grand new romantic drama of American Adventure and life in the wonderful mining camps of the rocky mountains. Ove $10,000 in scenery carried by this company, painted by the celebrated Scenic Artist Seymour D. Parker, Machinery and effects by Joseph T. Thompson, of Park Theatre, Brooklyn, N. Y.”
On Dec. 4, 1891, “The Brooklyn Citizen” announced that Seymour D. Parker painted “A summer View of Glen Island to Be Seen in Winter,” for Wechsler & Brother’s Display (page 2). The article reported, “The scene occupies the large window of the left of the main entrance…the scenery in the background is an essential part of the display. It was executed by Seymour D. Parker, a local scenic artist, and is well done.”
Life was looking good and opportunities abounded for Parker. By 1892, Parker left the confines of New York and began to travel with the Warde and James production company. On Nov. 6, 1892, the “St. Louis Post-Dispatch” reported, “Mr. D. Seymour, the scenic artist, travels with the organization and gives personal attention to the stage effects” (page 34). The Warde and James tour included “Julius Caesar” and “The Lion’s Mouth.” On Dec. 2, 1892, Cincinnati’s “Commercial Gazette” reported, “Entirely new scenery, of the most elaborate nature, has been prepared for ‘Julius Caesar’ by the well-known scenic artist, Mr. Seymour D. Parker, who travels with the company, and personally superintends the stage effects” (page 8). On April 4, 1893, “The Standard” in Ogden, Utah described, “The most important dramatic engagement of the present season will be the appearance on Thursday, April 6th, at the Grand Opera house, of the celebrated tragedians, Fredrick Warde and Louis James, supported by their grand company of thirty actors. Shakespeare’s noble tragedy, ‘Julius Caesar,’ will be the play, and the most sumptuous production is promised. All the armors, weapons, and stage furniture were prepared especially for the tragedy, and the entire scenery was painted by Mr. Seymour D. Parker, the well-known scenic artist who travels with the company and gives personal attention to the settings.” On Feb. 8, 1894, “The Daily Review” in Decatur, Illinois, announced that the much anticipated production of Shakespeare’s historical tragedy, “Julius Caesar,” included painted scenes of “unusual splendor.” The article elaborated, “The scenery has been painted especially for the play by Seymour D. Parker, the New York scenic artist. As the curtain rises a view is given of the famed hills of Rome, with its architectural splendor. The stage is filled with massive buildings and crowds of Romans going to the sports of Rome.” Parker remained with the touring company until the fall of 1894 when a new opportunity presented itself back home.
On Nov. 4, 1894, “The Brooklyn Daily Eagle” published an article about the new Montauk Theatre on Fulton street, mentioning Parker. The article reported, “We have engaged first class scenic artists, who will be under the direction of Seymour D. Parker, and who will begin work upon the scenery within a month. The arrangement will not interfere with our management of the Park [Theatre].”
Parker returned from the road to Brooklyn. On Sept. 8, 1895, the “Brooklyn Daily Eagle” reported, “The [Montauk] stage is one of the best in America, and it will be impossible to find one better equipped. The painting of scenery for it has been progressing under the brush of Seymour D. Parker for the last eight months. Mr. Parker’s contract with Mr. Sinn does not end with the completion of the Montauk, but will continue for years more, and additionally to the stock of fine scenery will be continually made. All the canvas used in making this scenery is first treated to a process that makes it proof against fire” (page 18). Interestingly, Arthur D. Peck was the mechanical stage engineer for the project and credited with building the stage for the Metropolitan Opera House in New York City. Parker remained at the Montauk for the next few years. Gradually his name began to disappear from the news. Newspapers seldom mentioned his projects in the late 1890s.
On brief mention of his scenic art appeared in The “Washington Times” on April 3, 1898 (page 15). An article about “Alone in London,” starring Cora Tanner briefly mentioned Parker’s scenic contribution: “The scenery is all new, from the studio of Seymour D. Parker, who has surpassed his efforts in the original production.”
Parker was still living in Brooklyn in 1900. The US Federal Census listed Parker, now age 50, living with Josephine Parker. This is where human error enters into census reports. Both Seymour D. and Josephine Parker share the exact same information: same birth month, birth year and birth location. It also reported that they were married for twenty years. That would be five years after Parker married his first wife Sibyl in 1875. Josephine was Parker’s second wife and the two were married in 1880. I have yet to locate any other information about Josephine.
In 1902, Parker finally resurfaces, making the news again. He is listed with several scenic artists who are credited with scenery for Frederick Warde Co., productions. His fellow scenic artists included George Heinman, Charles Porteus, Harley Merry, Ernest Albert and others. The article published on March 9, 1902, in the “Dubuque Enterprise” simply shows that Parker was still active in 1902.
In 1905, the New York State census listed Parker living in Manhattan with Augusta Parker, aged 57. He is listed as a scenic artist, but there is no information to show whether Augusta was a wife, sibling, or distant relative. I have to wonder if this was when Parker worked for Sosman & Landis at their New York Branch. It would make sense, as the firm’s scenic artists at this time seldom made news, unless they were on the road and a local newspaper mentioned them.
By 1910, Parker becomes associated with the Avenue Theatre and the Avenue Amusement Stock Co. This marks the beginning of Parker being known as “Avenue’s scenic artist.” Parker’s scenic contribution for the company was describe in “The News Journal” of Wilmington, Delaware, on Nov. 22, 1910 (page 8): “From a scenic standpoint, the production excelled anything hitherto given at the Avenue. While all the sets were attractive and most appropriate, the church scene in the third act with a figure of Jesus on a window of the edifice was exceptionally commendable. It was a further illustration of the capability of Seymour D. Parker, the scenic artist. Elaborate scenic effects and the ability of the Avenue Company to correctly interpret any play ever written, make a combination that will win-win in any theatre.”
On March 9, 1911, the “Wilmington Evening Journal,” mentioned Parker’s contribution for “The White Sister,” reporting, “The Avenue’s artist, Seymour D. Parker, has painted the handsomest effects ever seen on the stage of this popular playhouse” (page 13
On March 23, 1911, “ The News Journal” reported, “The bill at the Avenue Amusement Stock Company next week will be the noted drama ‘Lost Paradise,” by Henry C. DeMille. This will be the scenic event of the season…In the second act there will be a representation of a rolling mill in full operation. The Avenue’s scenic artist Seymour D. Parker, is now engaged in painting the massive scenery” (page 4).
1913, is a turning point for Parker and he really begins to make news again. On Feb. 12, 1913, he is mentioned in the “St. Joseph News-Press (page 6). The Missouri article announced “Schuberts Bend Players from New York to Occupy Local Playhouse – Tootle to be home of a stock company.” The stock company featured Miss Emma Bunting. Frank Phelps, the former local manager of the Schubert Theatre in Omaha was appointed general traveling representative for the theatrical firm. The article further reported, “Seymour D. Parker, a scenic artist of note, who will paint all the scenery used in the production here.” So in 1913, Parker traveled to St. Joseph, Missouri to paint scenery. By the summer, Parker traveled to the Lyceum Theatre in Rochester, New York. On July 8, 1913, the “Democrat and Chronicle” published a lengthy article about Parker:
Lyceum Scenery all Made Here.
Artist Paints it Aloft as Actors Perform Below.
‘Sets’ are very effective.
Seymour D. Parker, the Scenic Artist, Labors Unceasingly in Order to Have Scenery Prepared for Opening of Each New Play.
Few of the many persons who see the performances of the Manhattan Players in the Lyceum Theater realize, perhaps, that during the actual progress of the play, work on the production for the next week is going on, and upon the same stage, so to speak. This, however, is a fact, and it is Seymour D. Parker, the scenic artist of the Manhattan Players, who does this work. Perched away up on the ‘paint frame’ of the Lyceum, some forty or fifty feet above the stage and heads of the audience, Mr. Parker goes silently but swiftly and surely ahead with his work of manufacturing drawing room, forest, the boudoir of milady, some dive of the underworld or whatever other scenic settings are required to give realism and picturesqueness to the forthcoming play.
Aside from the splendid acting of the members of the Manhattan Players, the wisdom displayed in the section of the pays and the staging of them by Edgar J. MacGregor, it has been a matter of much comment that the scenic investiture of each play has come near the standard of Broadway productions. It is interesting to know that these handsome sets have been made to a considerable extent while the performances at the Lyceum have been going on.
Each production of this company is new and complete in detail. The handsome ‘interior’ sets used in ‘What it Means to a Woman’ would not suffice in any respect for the Clyde Fitch comedy ‘Girls,’ which is the bill for this week. Each Monday evening sees entirely new scenic investiture, and one may readily see that Mr. Parker has little enough time in which to prepare the new sets. Thus it is that for six days of the week, Mr. Parker is required to be ‘on the job’ from early morning until long after the performance has ended at night. Sunday is his day of rest; so he devotes it to laying out the production for the following week, making his sketches and seeing that his canvas, paints, etc. are ready for early on Monday morning.
There is no man in America more skilled and experienced in his work, it is said, than Seymour D. Parker. He had given practically his entire life to the profession and has held some of the highest positions in scenic artistry. Mr. Parker was a pupil of Henry E. Hoyt the noted scenic artist of New York city, who painted all of the bigger and more important scenic effects for the presentation in the Metropolitan Grand Opera House. For three years Mr. Parker himself held this position of responsibility. For eight years he was the scenic artist in the Montauk and Park theaters in Brooklyn, and for four years he held a similar position in the National Theatre, Montreal.
Mr. Parker is an artist on a more pretentious scale. He had done much work in oil, and two of his paintings exhibited not long ago by the Montreal Art Society won much praise for him. They were landscape views from nature sketches and were entitled ‘The Canadian Rockies; and ‘A Brook in the Lorencian Mountains.” He has painted many portraits.
Mr. Parker’s father, the late Joseph Parker, was a comedian of the old school and a scenic artist as well. He was associated with the late John T. Ford in the old Ford Stock Company in the Holiday Street Theater in Baltimore.”
A few years later, a similar article is published when Parker becomes associated with the Bonstelle Stock Company. On April 18, 1915, “Buffalo Morning Express” reported,
“Celebrated Scenic Artists with Bonstelle Stock Company.
Seymour D. Parker, the scenic artist with the Bonstelle company at the Star theater is one of the few theatrical artists who have had their paintings hung in art exhibitions. Several of his landscapes were at the academy exhibition in Montreal. As a scenic artist, Mr. Parker has few equals. He has painted in all the big studios in New York and in most of the first-class stock companies in the country. He was for three years in Montreal, and spent last season in Northampton.
The attention given of late years to the scenic investiture of a play has resulted in uplifting the scene painter’s art. A man must now be master of his technique, he must have artistic appreciation and ability, and, above all, he must have the subtle power of suggesting atmosphere. Granville Barker call the result of the scene painter’s effort the decoration, and the man who designs and arranges it is mentioned immediately after the producer’s name on the programme now in use at Wallacks theater, New York. Norman Wilkinson, a new discovery of Mr. Barker, an American, is receiving an acknowledgement for his decorations for A Midsummer Night’s Dream and part of The Doctor’s Dilemma, which would have seemed possible a score of years ago. The work of Gordon Craig, of Reinhardt and all other foreign scenic specialists, has proved to the theatergoer that it lies within the power of the painter and designer of scenery to present a work of art in the theater as well as on canvas.”
That summer, Parker repeatedly makes news for his scenic contribution in “Too Many Cooks.” On June 9, 1915, the “ Buffalo Evening News” announced, “Seymour D. Parker, the scenic artist has designed a charming setting in which the little home of the heroine is shown in various stages of completion” (page 8). On June 10, 1915, “The Buffalo Times” adds, “The production scenically is a fine one. Seymour D. Parker, the scenic artist, has arranged an attractive location for the little home which is shown in various stages of construction during the three acts” (page 9).
Parker remained with the company for a few years. In 1917 Parker delivered scenery for the Bonstelle Company’s production of “The Cinderella Man” and “The Professor’s Love Story.” Parker’s scenery was mention on Sept. 1, 1917 in the “Buffalo Evening News: “The three acts are laid in the Professor’s London home and in a Scotch village. The second act takes place in a wheat field, termed corn, English fashion and gives a fine opportunity to the scenic artist, Seymour D. Parker, who has made a lovely picture, from designs by the technical director, Adams T. Rice” (page 4).
Sometime after 1917, Parker became associate with New York Studios and again fell off of the radar, his name lost in studio projects. Managed by David Hunt, the firm was recognized as the eastern affiliate of Sosman & Landis, of Chicago. The Midwestern firm shared designs, labor and materials with their eastern counterpart. Parker was working for New York Studios at the same time as Thomas G. Moses. Again, Parker was mention in Moses’ memoirs in 1920. Here is the entry written by Moses:
“Binghamton, New York, work came in during February and proved to be a good contract. Mr. Hunt arrived from New York and remained for a few days, then left for California where he will remain several weeks. I interceded for Parker, formerly of Sosman and Landis, with Mr. Hunt, and I think he will engage him to go to New York City. One cold day at the studio sent us all home. Too bad that we have to lose any time on account of a cold work room.”
In 1920, the US Federal Census listed Seymour and Josephine Parker living at 145 41st Street in Manhattan. Seymour was working as an artist in the theatre industry. Again, I have yet to find any other information about his second wife. I have only located Parker’s 1875 marriage certificate to Sibyl Voughan in Manhattan, New York. This was not Seymour’s sister, as Josephine Parker Bishop died in 1918.
The final time that Parker made papers was in 1921. He was working at Keith’s Theatre in Columbus, Ohio. On June 5, 1921, the “Chronical Telegram” of Elyria, Ohio, reported, “Gotham Scenic Artist Stricken at Columbus. (International News Service) Columbus, June 4, – Seymour D. Parker, New York scenic artist, lies seriously ill at Protestant hospital tonight. He suffered a sudden stroke of paralysis today while sitting in front of the hotel Southern where he roomed. He is the artist for the stock company at Keith’s theater here. He was serving in a similar capacity here a year ago when his wife died as a result of paralytic stroke.” This suggests that Josephine was his second wife. Her listing in the 1905 and 1920 census suggests that the two were married in 1880, five years after his marriage to Sybil.
On June 8, 1921, “The Marion Daily Star” in Ohio, included and article entitled, “To Take Body East.” The article continued, “Columbus, June 8.- John Parker of New York City, is here, today, arranging for the shipment to New York, of the body of his brother, Seymour D. Parker, fifty-eight, prominent scenic artist, whose death, due to paralysis, occurred at Grant hospital, here, last night. Funeral and burial services will take place at New York, City.”
Parker was 63 years old when he passed away and is buried at Woodlawn Cemetery, Bronx, New York.
To be continued…
