Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 96 – James R. McNair

Copyright © 2022 by Wendy Waszut-Barrett

James R. McNair was a scenic artist at Sosman & Landis during the late nineteenth century. On March 12, 1895, “The Standard-Herald of Warrensburg, Missouri, reported, “Mr. McNair was formerly with Sosman & Landis, Chicago, and has probably furnished more scenery for country opera houses than any man of his age in the business.” Little is known of McNair, beyond a few directory listings and a handful of newspaper articles that mention his scene painting projects from 1888-1911.

By 1887, James McNair was working as a scenic artist in Kansas City, Missouri, at L. R. Close’s firm. Both the 1887 and 1888 City Directories listed McNair’s employer L. R. Close & Co. The only difference was that McNair roomed at 516 Broadway in 1887 and 117 w. 5^th in 1888. 516 was actually a studio address. Itinerant artists would designate a permanent mailing address for the year, often with their employer to ensure that their mail was delivered. Otherwise, their names were constantly listed in the uncollected letter sections of newspapers across the country.

Throughout 1886 and 1887, L. R. Close’s studio was located at 514-516 Broadway, with former Sosman & Landis scenic artist, Lemuel L. Graham’s studio at 525-527 Main. For context, the Main St, address was Close’s previous studio address in 1884, This was before his firm moved to the Broadway studio space. 1884 was also the same year that Graham left his scenic art position at Sosman & Landis to establish a studio in Kansas City and managed Sosman & Landis’ Kansas City Branch. They were all dipping into the same scene painting labor pool.

Sosman & Landis, Graham, and Close frequently employed the same scenic artists, as well as subcontracted work to one another. Again, there was a greater demand for theatre scenery than a supply of scenic artists to paint it.. Work was abundant and the profit margin quite high. In later years, Perry Landis would recall that the profit margin for theatre scenery in the 1880s was often 45% or more.

This is where McNair fits into the Kansas City scenic studio puzzle. Scenic artists employed by a firm home-based out of a studio, and also contracted individual projects. Sometimes it is hard to determine whether the artist was representing himself or the studio on the project. Many communities heralded the arrival of a scenic artist, frequently mentioning their skill and artwork in local newspapers.

Two of McNair’s 188 projects were for small opera houses in Broken Bow, Nebraska and Tombstone, Arizona. This was also considered a Sosman & Landis territory, managed by their western offices. On April 26, 1888, the “Custer Country Republican”, of Broken Bow, Nebraska, announced, “J. R. McNair a scenic artist is engaged in painting a drop curtain for the new opera house. It is the finest piece of work of that character ever done in Broken Bow and is a credit to Mr. McNair and adds much to the appearance of the scenery in the opera house” (page 8).

On July 21, 1888, the “Tombstone Weekly Epitaph” reported, “Jay McNair, a scenic artist of Kansas City, is at present at work on a new drop curtain for the Elite Theatre. It is very handsome, and will contain a number of advertisements”  (page 3). The Elite Theatre was originally known as the Birdcage, built by William Hutchinson in 1881. Hugh McCrum and John Stroufe were the next owners, who in turn, sold the venue to Joe Bignon in 1886. Bignon refurbished the building and renamed it the Elite Theatre. It was during this period that McNair painted and advertising curtain for the stage. The venue closed only four years later in 1892.

These two projects could have been contracted by either Sosman & Landis or L. R. Close & Co. Studio artists were often sent on site for a variety of projects, with the individual artists receiving press and not their employer. This was a practice that shifted by the early twentieth century, as more and more work was completed at a metropolitan studio and shipped across the country.

Also, when the main studios were booked solid, and an adjacent annex was either cost-prohibitive or unavailable, employees and supplies were simply shipped to the venue.  

In regard to McNair’s Kansas City employer in 1888…

Close operated a scenic studio in Kansas City for a full decade. Establishing his firm in 1883, Close did not remove to Chicago until 1894. In the Windy City, Close remained associated with Sosman & Landis until his passing in 1901. At Sosman & Landis, Close was listed as their agent, traveling salesman, and scenic artist over the years. His association with the firm likely started when the firm opened their Kansas City Branch Office in 1884. Close, McNair, and many other Kansas City scenic artists were often subcontracted by Sosman & Landis throughout the 1880s and 1890s.

The firm’s main studio also transported scenic artists from Kansas City to Chicago during busy periods, especially leading up to the 1893 Columbian Exposition. After the close of the World Fair, dozens of Sosman & Landis employees found themselves out of work and on their own. This was likely when McNair began working on his own, traveling as an independent scenic artist. In 1894, McNair was painting at a small theater in Kentucky.

On June 12, 1894, the “Hopkinsville Kentuckian” announced, “A traveling scenic artist, J. R. McNair, painted last week a beautiful and appropriate banner to be used in decorating the Union Tabernacle for the commencement exercises of the Hopkinsville Public Schools. The manner in which this work was executed shows him to be an artist of more than ordinary ability” (page 5). By the 1890s academic theaters representing a growing clientele. As new schools opened, their designs included theatrical stages.

By 1895, McNair was credited as a former Sosman and Landis employee, now associated with the Grand Opera House in Dallas, Texas.

On March 12, 1895, “The Standard-Herald of Warrensburg, Missouri, reported, “ The Scenery Arrives. The special scenery to be used in the production of ‘Pinafore’ at the Magnolia Opera House on April 19, arrived Monday. It consists of a backdrop, ocean horizon, with a view of Portsmouth in the distance: a cabin, bulwarks, mast and wings, and all the necessary surroundings for the proper production of the opera. It was painted by Mr. James R. McNair, one of the finest scenic artists in the country, of the Grand Opera House, Dallas, Texas, and is an everlasting credit to that gentleman’s ability. Mr. McNair was formerly with Sosman & Landis, Chicago, and has probably furnished more scenery for country opera houses than any man of his age in the business. The special setting of “Pinafore” gotten up by him for the company, which is to produce the opera in this city, will add greatly to its success, besides being a piece of work of which he may well be proud” (page 1).

On April 30, 1897, the “Centralia Fireside Guard” of Centralia, Missouri, reported, “J. R. McNair, a scenic artist of rare ability and great skill is engaged in painting a new drop curtain for the opera house. His workmanship cannot be surpassed. The curtain will be beautiful in design and a credit to the city” (page 5).

McNair’s arrival was mention in the “Centralia Fireside Guard” on April 16: “A first-class scenic artist will be here next week to paint a new advertising drop curtain for the Opera House. Mr. Rodemyre has made special arrangements to bring him here from the east” (page 5).

McNair never seemed to settle in any one place for long, but roamed throughout the country. In 1904, however, he listed Denver as his permanent residence. On March 25, 1904, “The Bainbridge Search Light” of Bainbridge, Decatur County, Georgia, mentioned McNair in an article entitled, “Opera House Improved” (page 1). The article reported, “Mr. J. R. McNair, and expert scenic painter of Denver, is now at work here on the drop curtains. He is reputed to be a very skillful artist and his work on curtains will be watched for with interest. Theatre goers have gazed upon the impossible nymphs and distorted cherubs engaged in the delightful pastime “swinging in the grape vine swing” adnauseum and will no doubt enthusiastically welcome a change of scenes. The work will be completed early April, and then perhaps some summer attractions will be put on.”

I have yet to locate him in the Denver City Directory during this time. Early twentieth-century scenic projects, however, continued to lure McNair east. On September 30, 1905,  the “Bluefield Daily Telegraph” of Bluefield, WVA, reported, “J. R. McNair, a scenic artist of note, is here remodeling the interior of the opera house and when finished it will be one of the most modern and up to date playhouses in Southwest Virginia or Southern West Virginia” (page 6).

Then there appears to be a five year gap, where I have yet to locate McNair’s residency or any theatre projects.  He resurfaces in 1910. On May 6, 1910, “The Mobile Daily Item” of Mobile, Alabama,  reported, “Painter J. R. McNair is busy painting the new curtain for the stage in the high school. It will be completed before the commencement exercises are held” (page 12). The following year, McNair was “of New York,” suggesting that he relocated east. On April 5, 1911, the “Keowee Courier” of Pickens, South Carolina” announced, “J. R. McNair, scenic artist, of New York, is here to paint a drop curtain for the high school auditorium” (page 1).

I have yet to discover any other information about McNair until his passing in 1924. Sometime between 1911 and 1924 McNair returned to the south, relocating to Louisiana. I have yet to determine whether this was a permanent move, or just another temporary residence. He passed away mid-project, while working on scenery for the Goldonna High School.

On Jan. 29, 1924, “The Times” of Shreveport, Louisiana, announced his death: “J. R. McNair. Lake Charles, Jan. 28 – J. R. McNair, 60 years old, a scenic artist and interior decorator, dropped dead in a restaurant here Saturday night” (page 12). The Louisiana Death Index listed his birthdate as “abt. 1854,” suggesting that he may have been actually 70 yrs. old.

McNair’s possessions went into probate, and provide a little more information about this itinerant artist. On April 17, 1924, Louisiana Wills and Probate records state, “To the Honorable Judge of the Fifteenth District Court of the state of Louisiana, in and for the parish of Calcasieu:

The petition of E. C. House Clerk of said Court, respectfully represents that on or about the 26^th day of January, A.D. 1924, one J. R. McNair, departed this life, in the City of Lake Charles, Calcasieu parish, Louisiana. That deceased was a resident of Calcasieu parish, Louisiana, and that so far as is known, said deceased left no heirs, relative or kindred to inherit his estate or to administer same; said estate consisting of personal property, to the value of about two hundred dollars and described as follows, to-wit:-

(1) Check of Goldoma [sic. Goldonna] High School, P. A. Griffon, Principal, on Peoples Bank of Natchitoches, LA, dated April 3, 1924, – for $108.20

(2) Miscellaneous lot of tools, brushes, paints, etc., per list attached, value at about $100.00”

The probate record continued with McNair’s debts:

“That said estate of J. R. McNair owes the following debts and accounts to-wit:-

To H. B. Barnes, 526 R. R. Ave., Lake Charles, La., For expenses connected with drop at Goldoma High School, per statement, $21.92

To Gill & Trotti, Undertakers, Balance due account of funeral expenses, per statement, $29.80

To Robert Dalovisio, 2 mos. Rent, 526 R. R. Ave, @$15,00 Total $30.00.”

McNair’s probate file details all of his worldly possessions, including his scenic art supplies.

The list provides an amazing snapshot into an itinerant scenic artist’s work in 1924.

Here is the transcribed list of his work supplies:

Oil stove, $1.00 [for making hide glue]

6 water buckets, $1.50

87 brushes, $10.00

2 boxes charcoal, 25 cents

7 closed pkgs color, $2.50 [dry pigment]

6 sponges, 90 cents

33 open pkgs color, $5.00  [dry pigment]

1 saw, $2.00 

32 new brushes, $5.00

16 new brushes, $2.00

9 bits and braces, $2.00

1 square, 50 cents

1 hammer, 50 cents

1 chisel, 50 cents

1 cold chisel, 50 cents

1 broom, 75 cents

26 oz Bronze, $3.00

2 dividers, $15.00

2 pliers, 50 cents

1 trunk, $2.00

6 pencils, 25 cents

5 large brushes, $9.00

Package stationary, private

48 stamped envelopes, 96 cents

42 used brushes, $4.20

1 lot lumber, $3.00

5 Strips of cloth, 32 ½ yds, $28.00

Lodge banners, $5.00

bundle strips, $1.50

1 movable ladder, $3.50

Rollers, screws, rope, nails, saw benches, $2.50

1 used drop, $10.00 [possibly the old drop from Goldonna HS that they were replacing]

I am absolutely fascinated with his 182 brushes (42 used) and 40 packages of dry pigment.  It makes me fill a little better about my own supply, and less like a hoarder.

“The Lake Charles American Press” also published the probate notice for McNair for seven days, beginning, April 23, 1924. Much of the handwritten list from the probate records was submitted, with the addition of clothes and other personal sundries.

When McNair passed away in 1924, he was working with fellow scenic artist H. B. Barnes. They were painting a new drop curtain project for the high school in Goldonna, Louisiana. This also gives some sense of the scenic artist’s onsite expenses at the time. Barnes submitted a request for payment by the probate court, expenses owed to Barnes at the time of McNair’s passing.  Specifically, Barnes requested McNair’s estate to pay for the following debt:

Travel (railroad fares to and from Alexandria, Louisiana), lodging in Goldonna, meals, and project supplies. In the end, Barnes also submitted a bill for “Keepers fees,” as he held onto McNair’s possessions long after his passing, from Feb 1 to May 17, 1924. These items were eventually sold at auction, with Barnes hoping for some of the proceeds to pay his project expenses.

I tried to track down a little more information about Barnes, hoping that it may shed light onto his colleague’s life and scenic art career. Hiram P. Barnes was the son of Solomon D. Barnes and Susan O. Joslin. Born in New York on April 20 1862, Hiram Barnes moved to Indiana with his parents as a child. The 1870 US Federal Census listed the Barnes Family living in Union, LaPorte, Indiana. Barnes would return to LaPorte, Indiana later in life, continuing to work as a scene painter until his passing on Nov. 10,  1935. His cause of death was listed as multiple sclerosis and respiratory paralysis.

Neither Barnes, nor McNair, made the history books. Their work is only mentioned in a handful of newspaper accounts, yet they represent the vast majority who worked as scenic artists during the late-nineteenth century and early-twentieth-century. Communities across the country received many traveling scenic artists as them as heroes, raved about their artistic skills. As they passed through many left small communities a little better than they found them. Painting large-scale artworks that helped transport many to distant locations. There was something new to gaze upon each time they attended the theatre. Unfortunately, many of their artworks have failed to stand the test of time, and once celebrated artists were quickly forgotten.

To be continued…