Month: December 2022

Copyright © 2022 by Wendy Waszut-Barrett

In 1873, Joseph Sosman assisted scenic artist T. B. Harrison at the Chandler Opera House in Macomb,. Illinois.  At the time, Sosman was well-known as a sign painter in town, having moved to Macomb only eight years earlier.

On April 17, 1873, “The Macomb Journal” reported, “SCENE PAINTING. As well as the entire design and arrangements of the stage is the handiwork of the eminent artist, T. B. Harrison, of Chicago. The stage, of course, is the focal point of all the attractions of the establishment and he who took the task of its design and execution has indeed an onerous one. But the one who looks upon the work of Mr. Harrison will decide that he has in masterly manner accomplished more than was expected. In the painting he has been ably assisted by our young friend, Joe Sosman; Joe has superior abilities, and our citizens will wake up some fine morning and fin in him, that Macomb has a first-class artist” (page 3). Sosman continued to make the Macomb news over the years, as this small town followed his continued success as a scenic artist and founder of Sosman & Landis.

This was a turning point in Sosman’s career, initiating his shift from sign painting to scenic art. In regard to Harrison, Sosman could not have selected a better mentor.

This post is about the life and career of Thomas B. Harrison (1836-1895). In later years, Harrison was remembered by citizens of Clinton, Missouri, as an “erratic genius” (June 23, 1900, “The Clinton Eye”). Harrison must have greatly inspired Joe Sosman at the beginning of his career. Here was an individual who appears to have dreamed big, trying his hand at everything within reach. Harrison was also key to the later Chicago connections for Sosman, facilitating many introductions for Sosman’s later success.

I do wonder how involved Harrison was with the mechanical engineering at Sosman and Landis throughout the 1880s and early 1890s. I also wonder how much he really contributed to the firm, contributions that made Sosman so loyal to Harrison throughout his life.

Newspaper accounts purport that Thomas Benjamin Harrison was born in Hull, England, on February 16, 1836. However, I have yet to locate any definitive proof. Harrison’s baptismal records were dated less than a week later on Feb. 21, 1836, in Selby in North Yorkshire. For geographical context, the Selby is approximately 38 miles due west of Hull, with a river and canal system connecting to two. In 1840 the railway from Selby to Hull opened, expanding transportation options.

Thomas was the eldest of two children born to Benjamin Harrison (1804-1891) and Ann Smith (1804-?). Benjamin and Ann’s Marriage Banns, dated from May 15, 1834, in nearby Leeds.  This is the same year that the Leeds and Selby Railway was completed, further expanding transportation options for local residents. Leeds is approximately 25 miles due west of Selby. Selby is approximately halfway between Hull and Leeds. Here is a great link to an article about Selby that was published in the “Yorkshire Post” – https://www.yorkshirepost.co.uk/heritage-and-retro/heritage/history-selby-once-port-west-riding-and-reputed-birthplace-henry-i-2936178

The 1841 England Census listed the Harrison family as living in Selby. Household members included head-of-household Benjamin Harrison (35 yrs.), wife Ann (35 yrs.), son Thomas (5 yrs.) and daughter Ann (1 yr.). Sometime between the 1841 census and 1847, the Harrisons relocated south to Oxfordshire. In 1847 Benjamin Harrison was listed as a cabinet maker, located at 28 St. Aldate’s street. It remains unclear as to what prompted the move or what exactly happened to his first wife; I have yet to locate any death certificate.

In 1849, Benjamin Harrison married a second time. He and Sarah Schutt were wed at St. Wilfrid’s Church in Calverley on Feb. 18, 1849. Calverley is approximately six miles northwest of Leeds.

Soon after their marriage, the Harrisons emigrated to the United States of America. Sailing aboard the Columbus, their arrival is documented in an Arriving Passenger Crew List, dated June 29, 1850. At the time, the Harrison family included Benjamin (46 yrs. cabinet maker), wife Sarah (41 yrs.), and four children: Thomas (14 yrs.), Ann (10 yrs.), Charles (9 yrs.) and unnamed infant. I have yet to confirm if Charles was the biological son of Benjamin and his first wife, or Sarah’s child from a previous marriage. He could have even been relative, simply traveling with the couple at the time, which may be possible as he disappeared shortly after arrival.

The Columbus sailed with 661 passengers from Liverpool to New York. Amazingly, the Harrison family is even included in the publication, “The Famine Immigrants: Lists of Irish Immigrants Arriving at the Port of New York, 1846-1851 Vil VI (June 1850-March 1851)” by Ira Glazier and Michael Tepper (Baltimore: Genealogical Publishing Co., 1985, pp. 1-150).

The Harrison family was also counted in the 1850 US Federal Census. At the time, they were living in Bloomfield, Clinton County, Iowa.  Oddly, only two of the four children from the ship’s passenger list were listed in the census report: Thomas (15 yrs.) and Anne (11 yrs.). It remains uncertain if 9 yrs. old Charles and the infant passed away, or if they were reunited with relatives. There were only a few months in between their arrival and the census report.  

Six years later, the Harrisons were living in nearby Maquoketa, Iowa, counted in the State census. The 1856 Iowa census listed 52-yrs.-old Benjamin Harrison as a cabinet maker, living with his wife Sarah (47 yrs. old) and four children: Thomas Harrison (20 yrs.), William H. (4 yrs.), Sarah J. (2 yrs.), and Mary A. (1 yr.). These were all the biological children of Benjamin and Ann, born after the couple’s arrival in America, and when Sarah was in her mid-40s; Thomas’ half-siblings. The 1850 census also listed Thomas Harrison’s occupation as a painter.  Later reports purport that Harrison’s artistic and academic training were solely obtained in England, but this would have been only until the age of 14.

The 1860 US Federal Census report listed that the Harrison family household included Benjamin (58 yrs.), Sarah (50 yrs.), William (8 yrs.), Sarah (7 yrs.) and Mary (5 yrs.), all still living in Maquoketa. By this time, Thomas was 24-yrs.-old and living on his own. I have yet to locate his whereabouts between 1857-1861. He briefly disappears from public records until 1862 when he enlisted in the Iowa Infantry. He possibly traveled as an itinerant painter, going from town to town throughout the region, as was common with many scenic artists at the time.

Harrison’s US Civil War draft registration card listed his occupation as “painter.” At the time, he was 27 yrs. old.  The US Army register of enlistments provides addition information about this young unmarried man. His appearance was listed as black, hair, black eyes, and a ruddy complexion. Harrison enlisted Sept. 30, 1862, as a 2^nd Lieutenant in Co. B., 26^th Iowa Infantry. He was soon discharged, however, due to constant illness. He served a second time, with the same company.  Harrison’s obituary remembered, “He saw much service and was twice severally wounded at Fort Donelson and in Arkansas, from the effects of which he never recovered. He was a true soldier and patriot.” Harrison mustered out on March 10, 1863, in Young’s Point, Louisiana. From Louisiana, he headed to New York. By fall, he sailed from New York to New Orleans aboard the Evening Star. On Oct 18, 1863, “The New York Times” listed T. B. Harrison of a steamship passenger bound from New Orleans (page 8).

From New Orleans, Harrison moved to Chicago, where he rapidly rising to the top of his profession as a scenic and easel artist. In 1864, Harrison was listed a one of several artists exhibiting their oil paintings at Jevne & Almini’s. The group included two other well-known scenic artists such as Minard Lewis and William Voegtlin. On June 17 – 20, 1864, a “Chicago Tribune” advertisement announced:

“Chicago Artist’s Sale, by Gilbert & Sampson, of Fine Oil Paintings, at Auction. We will sell on Tuesday Evening, June 21^st at 8 o’clock precisely, the fine collection of Oil Paintings, by Chicago Artists, which have been on exhibition at Jevne & Almini’s, and are now removed to our salesroom, in order to accommodate those who wish to purchase and could not get admittance at the room on Washington street. All the paintings exhibited at our room will be sold without reserve. The paintings of the artists who had someone to bid on their paintings unbeknown to the others will not be put into the sale. The paintings will be on exhibition day and evening until the time of the sale (Sundays excepted.) This collection has been very much admired and are from the hands of our best artists, viz: H. C. Ford, Mrs. Nicholson, J. H. Drury, Paul Brown, P. Fishe Read, Jacob Cox, J. R. Sloan, D. F. Bigelow, Alfred Sederberger, Belden J. Woodman, Kaye E. Cameron, H. N. Gager, Mary A. Thomas, Wm. Voegtlin, Miss E. Mackway, Minard Lewis, Mrs. Hall and T. B. Harrison. The attention of all our citizens who are in want of good paintings particularly called to this sale, and are invited to call and see then while on exhibition. Gilbert & Sampson” (page 4).

Now, this places a few key players in the same group.  Harrison was intimately involved with the Chicago Academy of Design (CAD) and the Chicago Academy of Fine Arts. There is a fascinating article by John Dryer entitled “The Demise of the Chicago Academy of Design and the Rise of the Art Institute of Chicago (“Journal of the Illinois State Historical Society” Vol. 113 Nos. 3-4 Fall/Winter 2020). According to Dryer, “Shortly after the war ended, the CAD was founded in 1866. Its stated purpose was to offer artists a studio to rent, regular exhibitions and teaching ateliers.” By 1867, many of the organizations activities were held at the top floor of the newly constructed Crosby Opera House on Washington Street.

To place this within the history of American scenic art, Lou Malmsha (1845-1882)  was one of the scenic artists who worked at Crosby’s Opera House during this time. He initially trained with Mr. Arragon at the venue, having emigrated from Sweden in 1863. By 1866, Malmsha was also painting scenery in New York, and was listed as one of the scenic artists who delivered scenery for the original production of “The Black Cook” at Niblo’s Garden.

Thomas G. Moses trained with Malmsha in 1873, at the same time that Sosman trained with Harrison. Both Moses and Malmsha also worked at P. M. Almini’s during this time as decorative painters.  Late in life, Moses recalled the talents of Malmsha, writing, “He was a very clever man. In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work, very simple in drawing and color, but very effective.”

In 1868, Harrison was listed as one of the Committee members  for a Chicago Academy of Design event, held at Crosby’s Opera House. At the time, there were approximately sixty members in the organization.

On March 3, 1868, the “Chicago Evening Post” included T. B. Harrison was listed as a Committee member or the tableaux vivant, a featured event for the Chicago Academy of Design art reception at the Opera House (page 4). The tableaux scenes that were reproduced included The Laocoon Groupe; Fighting for the Dead Body of Patrocius, as seen on the frieze of the Parthenon; Dirce; Thorwaldsen’s Apollo and the Muses; Groupings from Raphael and Murillo; and a scene reproducing the features of ancient Egyptian art.  The article reported, “The effects of these pictures, given living figures, will be indescribably beautiful and afford something that has never been presented in this city. Tickets can only be attained from the Committee, which is composed of the following gentlemen: Chas. Knickerbocker, U. H. Crosby, Conrad Diehl, H. C. Ford, Walter Shirlaw, J. F. Gookins, Louis Kurtz, Chas. H. Brower, P. Almini, Chas. Peck, J. F. Aitken, G. S. Collis, T. B. Harrison, G. A. Binkert, W. B Baird, or at Room No. 9 Opera House.”

There are a few things to note about some of the abovementioned individuals in this group. In 1865 Jevne & Almini joined with Louis Kurtz to form the Chicago Lithographing Co. Their portfolios provide great insight into the bustling city of Chicago before the great fire of 1871. Kurtz, a German emigrant, moved to Chicago in 1864 where he worked as a scenic artist at both Crosby’s Opera House and McVicker’s Theatre.

The Chicago Academy of Design held private gatherings and public events at Crosby’s Opera House prior to the great Chicago Fire of 1871. The organization’s art exhibitions were frequently featured at the Crosby Art Gallery or in The Almini & Jevne Building on Clark Street. The CAD also leased space at a new building on Adams Street by 1870.

For a little more context, after the 1871 fire, Jevne and Almini separated, each going their own way and founded two new companies: Otto Jevne & Co., 226 E. Washington Street and P. M. Almini & Co., 344 State Street.  Almini remained much more active with the CAD, constantly employing many of the artists.

Although CAD membership greatly declined after the firs, in 1872 the Council of the Chicago Academy of Design rented L. W. Volk’s building at the corner of Michigan Avenue and Van Buren Street (Chicago Tribune 18 Oct 1872, p 8). Leonard Wells Volk (1828-1895) was a sculptor and president of the CAD. This was a period of great transition for the CAD, helping prompt the rise of the Chicago Academy of Fine Arts.

Like many scenic artists after the fire, Harrison travelled throughout the country again, securing work as a scene painter, photographer, lecturer, and inventor. He sporadically appeared various directories across the country.

Keep in mind that his travels also coincide with the onset of the Long Depression in 1873, and economic downturn that and lasted until 1879. This period of financial struggle is considered the first Great Depression in the United States. The event prompted many artists to expand their services, and immediately grasp at any business opportunity that came their way.

The 1873 Chicago Directory listed Thomas Harrison as a photographer at 79 Blue Island Ave. Again, this was a common listing for many scenic artists who were very active in early photographic endeavors. They accepted a variety of projects that included, photography, interior décor, sign painting, carriage painting and illustration. Photograph was also the same occupation as Harrison’s later short-term business partner Ed Pearce.

In 1873 Harrison was likely accepting any work that came his way. It was at this time that he  painted scenery at Chandler’s New Opera House in Macomb, Illinois. Again, it was in Macomb that he met, befriended, and trained Joe Sosman. Chandler’s New Opera House opened on Monday, April 21, 1873. Constructed by C. V. Chandler as a cost of $30,000, work commenced on April 7, 1872. The theater was located on the second floor of the building, with retail occupying the first floor. The lower story was 16’ high and the second story was 24’ high. The seating arrangements were divided as follows: level floor (60×40, 850 chairs); the rear 20×60 is separated by low balustrade, the seats five in number, rising one above another to the rear, thus giving the farthest from the stage an elevated position; about 175 persons can, with ample room for each occupy this division….Dress circle, or gallery seats 225.

On April 17, 1873, “The Macomb Journal” reported, “SCENE PAINTNG. As well as the entire design and arrangements of the stage is the handiwork of the eminent artist, T. B. Harrison, of Chicago. The stage, of course, is the focal point of all the attractions of the establishment and he who took the task of its design and execution has indeed an onerous one. But the one who looks upon the work of Mr. Harrison will decide that he has in masterly manner accomplished more than was expected. In the painting he has been ably assisted by our young friend, Joe Sosman; Joe has superior abilities, and our citizens will wake up some fine morning and fin in him, that Macomb has a first-class artist” (page 3).

On May 8 and 15, 1873, “The Macomb Journal” reported, “Oh! How beautiful! A thing of beauty is a joy forever. They include nearly every scene now finished in Chandler’s magnificent new Opera House and all are for sale any size card, stereoscopic, or 8 x 10. These pictures are from the paintings by Prof. T. B. Harrison, who is a master in his profession. They can be had at Hover & Zumbro’s, East Side Square” (page 3).

Harrison continued to travel throughout the country, and briefly settled in Boston during 1874.  On Jan. 16, 1874, the “Chicago Tribune” announced Harrison’s arrival at the Sherman House in Chicago (p. 7). Despite extended travels, Harrison maintained a home with Edward Pearce in Macomb, Illinois, until 1875. On Jan. 7 and 14, 1875, “The Macomb Journal” announced, “Prof. T. B. Harrison and Ed Pearce have gone to make their home in the city of Quincy. How the band will get along without them we can’t tell” (page 3).

Pearce returned to Macomb two years later. On Oct. 25, 1877, “The Macomb Journal” reported, “Ed Pearce has returned to Macomb and opened a new photograph establishment in the rooms over Joe Adcock’s store” (page 3). He continued in this business for the next few years. On Oct 16, 1879, “The Macomb Journal” reported, “Ed Pearce having returned from taking lessons in the higher art of photography, can be found at Tom Philpot’s excellent photographic rooms” (page 3).

Harrison also returned to Macomb for various projects. In 1876 he designed “Red Man’s Room” decorations. The local newspaper described Thos. B. Harrison as  “a well-known artist of this City.” The paintings were executed by both Harrison and Jos. S. Sosman.

On June 7, 1877, “The Macomb Journal” reported the following in regard to “Proceedings of a Regular Meeting of the Macomb City Council” (page 2):

“On motion, an appropriation of $10 was made to pay T. B. Harrison for a map of cemetery, and clerk was instructed to draw order on treasurer for the amount.
 A second announcement stated, “On Motion, T. B. Harrison was instructed to make another map similar to the one just finished, the cost not to exceed $7.50.”

Later in life, Harrison’s obituary recalled that he studied in Europe, Egypt and the Holy Land. It detailed that his natural proficiency for multiple languages prompted his career to branch off in an additional direction. Harrison’s obituary recorded that he contributed magazine articles on both scientific and art subjects under a nom de plume, and publicly lectured on foreign lands.

In 1878, Harrison was still traveling as a scenic artist throughout the Midwest. On October 10, 1878, The Osceola Sun  reported, “T. B. Harrison scenic artist of Chicago is here painting the scenery for Hedrick’s new Hall. This hall when completed will be one of the best in southwest Missouri” (page 3). On Nov. 2, 1878 the Butler Bates County Record reported, “The Messrs. Hendrick, of Appleton City, are finishing one of the finest halls in the southwest. It is 25×100 feet, is provided with a stage and scenery and will be seated with chairs. The scenery and fresco work is being done by Mr. Harrison, a scenic artist of Chicago, and is as fine as that done anywhere. The Appleton Dramatic society will dedicate the hall as soon as completed, due notice of which will be given” (page 3).

Harrison purportedly helped establish the Chicago Academy of Fine Arts in 1879, later renamed the Art Institute of Chicago. Harrison was well respected as a professor at the Institute.  

On Oct. 31, 1879, “The Cass County News” reported, “T. B. Harrison, the artist-traveler, has been entertaining our people with his lectures on Foreign travel during the past three evenings, closing the season for which he was advertised on Wednesday evening, having had good audiences of a highly appreciative class during the entire course. At the close on Wednesday evening a request was made by a unanimous expression of the audience, asking him to remain longer, whereupon Mr. H. signified his willingness, and announced the three nights closing the week. Our citizens who have not attended these superbly illustrated lectures, which are in themselves of the highest order, have missed a treat, Yesterday evening the lecture embraced a tour of Holland, Denmark, Norway, Sweden, Russia, Turkey and Greece. To-night (Friday) Africa, Palestine, the Ruins of Pompeii, and Spain. Saturday evening, the Lakes of Northern Italy, Milan, Pisa, Florence, Bologna, Naples, Venice, Rome, St. Peter’s Church and the Vatican. We predict large audiences, as a lifetime may be spent without another opportunity of hearing lectures of as high an order or of witnessing as superb illustrations” (page 3).

On November 29, 1879, “The Lexington Intelligencer” reported, “Thos. B. Harrison’s Pantascope, a unique series of art illustrations, forming an epitome of foreign travel, producing with realistic effect the most beautiful, picturesque and romantic places of the world, which has been exhibiting at the opera house the past week, is an entertainment of the highest order of merit and has been liberally patronized by our citizens. The programme for the first  evening was France, Paris and Switzerland, the second evening, Germany and the river Rhine; third, England, Ireland and Scotland; fourth, the Netherlands, Russia, Turkey, Greece and Egypt, and last evening, the Holy Land, Pompeii, Africa and Spain. To-night will be Italy, Venice, Rome and the Vatican. There will also be a matinee this afternoon at two o’clock, at which will be presented Germany and the river Rhine. Mr. E. D. Graham, the advance agent and business manager, was formerly editor of the Clinton Advocate, in this state, and is a thorough gentleman, as are all those connected with the exhibition. From here they go to Richmond, and we cordially recommend them to the citizens of that ancient burg. The money expended in thus getting a glimpse of the Old World and its many historic places and buildings could not be more beneficially spent by either old or young”  (page 3).

On February 27, 1880, the “St. Joseph Gazette” included an advertisement for Harrison’s Pantascope (p. 1). Harrison exhibited “A Unique series of Art Illustration Forming a Perfect Epitome of Foreign Travel, producing with realistic Effect the Most Beautiful Picturesque and Romantic Places of the World.” The advertisement promised, “Am entertainment of the Highest Order of Merit, universally commended by all persons of culture, taste and refinement.” Harrison’s show was performed at the Fifth Street Methodist Church every day that week for a price of 25 cents for adults and 10 cents for children. A short announcement in the “St. Joseph Gazette” on Feb 27, 1880, reported, “Harrison’s Pantascope is among the very best entertainments of the season. To-night the program is unusually attractive. It includes a ‘journey’ through the Holy Land, views of Pompeii, and scenes in Old Spain” (page 4).

On March 11, 1880, “The Macomb Journal” announced, “T. B. Harrison, formerly of this place was in St. Joseph, Mo., last week, exhibiting his pantascope” (page 2). On Oct 29, 1885, “The Macomb Journal” reported, Professor Thomas B. Harrison, a former well-known citizen of Macomb, has been in our streets the present week” (page 5).

Later that spring Harrison returned to Macomb. The “Henry County Democrat” announced, “Remember, Pantascope, City Hall, April 19” (p. 3).

Although his work with Sosman in Macomb was short-lived, the two remained close friends until Harrison’s passing in 1895.  Sosman was even mentioned in Harrison’s obituary. The “Henry County Democrat” remembered, “While painting scenes in the Macomb Opera House, he took in a young boy to mix paints and be of general utility. That boy was Joe Sosman, now senior member of Sosman & Landis, Chicago, the leading theatrical contractors, and outfitters in America. Joe Sosman made his fortune, but he never forgot how much he owed to Tom Harrison. And during all of the ups and downs of Tom’s career, Joe was his steadfast friend.”

Harrison was also an inventor, developing a series of inventions over the years that included a steam hammer, a compressed air hammer, and other improvements for both manufacturing machinery and typewriter machines.

Described as an “artist of rare merit,” he remained in Clinton, Missouri, after painting a drop curtain for the opera house, teaching both drawing and music.

While in Clinton, Harrison grew attached to Samuel J. Seifried, taking the young man on as an assistant The 1880 Census listed Harrison, Samuel Seifried, and his father, William Seifried, all living at the same boarding house on Main Street. The census report listed Harrison as a 41 yrs. old artist, Seifried as 14-yrs. old “at home,” and William as 36 yrs. old “hotel clerk

Samuel Seifried was born in 1866 in Missouri, the eldest son of William J. Seifried (1844-1935) and Amelia M. Heckler (1858-1885). His siblings included Henry C. (1872-1875), Charles E. (1875-1896), George E. (1877-1878), Willie E. (1879-1881), and Barbara (1882-1912). Amelia passed away on Feb. 18, 1885. William married his second wife Emma E. Volkman (1867-1934), about 1889, and five children were born to this union: Winfred W. (1891-1976), Louis M. (b. 1897), Alberta (1895-1979), Reinhold V. (1904-1968), and Eunice (?-1896)

Samuel’s maternal grandmother, Katherine Drach, was known in Clinton, Missouri, as “Mother Seifried.” She was born in 1818 in Unistadt, Germany, emigrating to America in 1837, and marrying Jacob Seifried (?-1899) in March 1841. The couple celebrated the birth of eight children, including Samuel’s father, William John Seifried (1844-1935).

For a little context…Samuel’s father worked as an interior decorator, who, in 1882, he was listed as a painter in the St. Louis directory, residing at 2821 Sheridan Ave.

On Nov. 1881, “The Windsor Review” in Missouri reported, “Last Weeks Spree. Four Days at the Appleton City Fair.

By the kindness of Mr. Harrison, the scenic artist, we were shown through the magnificent Durley Hall of which this town is justly proud. It is undoubtedly the finest Opera House in Southwest Missouri and stands an everlasting record to one man’s enterprise. Harry W. Grantley, the builder of this gran edifice has spare neither money nor brains in rearing it and it certainly does him great credit, Complete in every detail, any play can be realistically produced on the stage. The artist, Mr. Harrison, has done excellent work here, the drop curtain being a masterpiece of artistic originality, and all of the vast amount of scenery shows evidence of his genius.”

On April 23, 1882, The Leavenworth Standard reported, “Around the World. The unique art delineation of European life will open at the Delaware Street Opera House Tuesday evening. It is said to produce with realistic effect the most beautiful, picturesque and romantic places in the world. It is in the hands of G. W. Hutchins, of Philadelphia, and T. B. Harrison, artist traveler and member of the London, Paris, Berlin, Florence and Rome schools of art” (page 4)

On July 26, 1882, the Ottawa Daily Republic of Kansas announced, “Mr. Harrison, the scenic artist of the new Opera House had begun work on the large drop curtain, and it promises to be one of the handsomest pieces of art in the state” (page 1).

Harrison also produced stock scenery for Moore’s Opera House in Nevada, Missouri.  Harry Miner’s Dramatic Directory for the 1882-1883 season credited Harrison with 20 sets of scenery at the venue. Harrison’s scenic art was also listed in Harry Miner’s Theatre Directories, for 1884 and 1887. He was credited with stock scenery collections at the Opera House in Clinton, Missouri; L&S Moore’s Opera House in Nevada, Missouri; Lamar Opera House in Lamar, Missouri; and the New Odeon Theatre in Maquoketa, Iowa.

Here is a summary of the known stock scenery collections delivered by Harrison during his lifetime:

Chandler’s Opera House (Macomb, Illinois, 1873)

Opera House (Clinton, Missouri, 1880)

Opera House (Lamar, Kansas, c. 1882-1884)

New Odeon Theatre (Maquoketa, Iowa, c. 1882-1884)

L&S Moore’s Opera House (Nevada, Missouri, c. 1882-1884)

Opera House (Ottawa, Kansas, 1882)

Opera House (Sedalia, Missouri, 1883)

On May 13, 1882, “The Falls City Journal” of Falls City, Nebraska, reported, “Around the World. A unique series of artistic delineations of European life; by G. W. Hutchings, of Philadelphia, and T. B. Harrison, Artist Traveler, and member of celebrated art schools of London, Paris, Berlin, Florence, and Rome. A perfect epitome of foreign travel. Am entertainment of the highest order of merit, universally commended by all persons of culture, taste and refinement. At the Opera House, May 16^th and 20^th, Admission 25 cts. Reserved seats 35 cts. Children and gallery seats, 15 cts. Season tickets only 75 cts” (page 5).

On Aug. 5, 1882, The Ottawa Daily Republic (Kansas) reported,
“Mr. Harrison, the scenic artist at the new opera house, thinks the REPUBLICAN was premature in inviting folks to see the new drop curtain. He don’t care to be bothered by visitors and has locked the public out. So you needn’t go to see the new curtain just now.” (page 4)

1883- Sedalia, Missouri: On March 13, 1883, the “Sedalia Weekly Bazoo” of Missouri reported, “H. C. Moore, president of the opera house stockholders. presented T. B. Harrison, the scenic artist, with a fine gold headed case on which is handsomely inscribed” From W. C. Moore to F. B. Harrison, 1883” (page 5). All this time, Harrison traveled with his assistant “Sammie.”

On March 24, 1886, Harrison became a naturalized citizen in Montgomery, Missouri. This may have been prompted by a series of inventions that both he and Seifried were working on at the time. On Dec. 27, 1888, the “Versailles Republican” announced the patent was granted for T. B. Harrison’s Anderson, typewriter” (page 4).

Seifried proved to be not only a wonderful assistant, but also a fellow inventor.  Harrison later listed “Sammie” as his adopted son, leaving him everything upon his passing in 1895; an estate valued at $4000. The two repeatedly toured the European continent for well over a decade, although I have yet to uncover any travel records or passport applications. During their travels through France became interested in the Braille system, returning with information and several ideas. Upon their return, the couple developed a typewriter for use by the blind and established the manufacturing firm of Harrison & Seifried. Harrison & Seifried was located at 181 E. Division Street in Chicago. They advertised as “Designers and Builders of Light Machinery.”

Here is a link to Bi-fold brochure of Harrison & Seifried, “Sole Manufacturers of the Hall Braille Writers and the Stereotype Maker.” https://aphmuseum.org/record/hall-braille-writers-and-stereotype-maker-brochure/

The Hall Braille typewriter (also called a Braillewriter or Brailler) was invented in 1892 by Frank Haven Hall, who was the Superintendent of the Illinois Institution for the Blind. The Hall Braille typewriter was manufactured by the Harrison & Seifried company in Chicago, Illinois, USA. Hall introduced his invention on May 27, 1892, at Jacksonville, Illinois. It types raised Braille dots onto paper. For more information, see: http://www.enchantedlearning.com/inventors/1800b.shtml]

Here is a link to another detailed history of the machine: https://www.antiquetypewriters.com/typewriter/hall-braille-writer-1/

“In 1892, Hall had the skilled local Gunsmith and Metal worker Gustav Siebel make a prototype of his machine. Hall took Sieber’s prototype to the Munson Typewriter Company in Chicago, where superintendent T.B. Harrison and designer Samuel J. Seifried, inventor of the Munson typewriter, created six pilot models. Harrison and Seifried in seeing the great potential of this revolutionary machine, then left the Munson Typewriter Company to start their own company. They made an additional 94 machines based on the initial design for Hall. The Hall Braille-writers that followed were essentially of the same design but there were alterations to be seen, especially in the carriage construction.”

Previously, each was associated with the Munson Typewriter Company. On Dec. 7, 1890, the “Chicago Tribune” announced, Samuel J. Seifried, Secretary of the Munson Typewriter company, filed a certificate to record the increase of the capital stock of the company from $60,000 to $100,000”  (page 6).

Harrison’s involvement with the typewriter was detailed in an 1887 newspaper article. On April 7, 1887, “Logansport Pharos Tribune” of Logansport, Indiana, reported:

“The Pharos spoke briefly the other day of the Harrison type writer being on exhibition in the city, but if failed to mention some interesting facts connected with the history of the patent. The machine is the result of the genius of Prof. T. B. Harrison, the gray-haired gentleman who gave a series of illustrated art lectures at Dolan’s opera house last year. The Professor has traveled all over the world and is a cultured and interesting talker. After leaving Logansport he went to Anderson, and while there fell in with Father Weichtman, the Catholic minister, a whole-souled gentleman who immediately took a great liking to the aged traveler. Prof. Harrison was full of his proposed type-write patent, and Rev. Weichtman immediately set to work to interest local capitalists in the device. The result was they advanced the money to secure the model and patent, and the little machine was finally built and improved, until it was brought to the point of perfection shown in this city, the model alone costing $900. We see from the Indianapolis papers that the Anderson company has been incorporated with $10,000 capital and will soon begin manufacturing Harrison’s typewriter. It can be stated in this connection that good judges in this city who examined the machine pronounce it decided improvement over other standard typewriters” (3).

Harrison continued to invest in the performing arts and established a touring company. I have yet to track down the details, but on July 7, 1892, the “Sterling Standard” the T. B. Harrison Theatrical Co. as the employer of leading man, Thomas Alexander  (page 3).

In regard to Harrison’s extended family in America…his father, Benjamin, passed away on Oct. 8, 1891. Buried in Mt. Hope Maquoketa, Jackson, Iowa, he is buried next to several other family members, including his eldest son Thomas. Thomas B. Harrison passed away on August 13, 1895 in Chicago, Illinois. Newspapers reported that Harrison’s death was caused from “slight paralysis occasioned by excessive mental labor.” His noted occupation at the time was listed as “inventor.”

On Sept. 19, 1895, “The Henry County Democrat” of Clinton, Missouri (page &) reported,

“Death of Tom Harrison. Sketch of the Life of a Talented Artist and Genial Man.

The people of Clinton who learned to admire Tom Harrison, the artist, for his many genial qualities, will be pained to learn of his death in Chicago. Mr. Harrison painted the scenery for the Clinton Opera house and as a young man, of this city, Sam J. Seifried, has been his constant companion for years. The editors of the DEMOCRAT had a warm personal acquaintance with Mr. Harrison long before he came to Clinton. For many years he lived in Macomb, Ill., and every man, woman, and child in that city admired his abilities and excellent qualities of mind and heart.

While painting scenes in the Macomb Opera House, he took in a young boy to mix paints and be of general utility. That boy was Joe Sosman, now senior member of Sosman & Landis, Chicago, the leading theatrical contractors, and outfitters in America. Joe Sosman made his fortune, but he never forgot how much he owed to Tom Harrison. And during all of the ups and downs of Tom’s career, Joe was his steadfast friend. The Chicago “Inter Ocean” of Sept. 8^th contains the following brief account of his life:

Thomas B. Harrison who died recently at his residence, No. 27 Pleasant street, of slight paralysis occasioned by excessive mental labor, was buried with Masonic and G. A. R. honors Friday, Aug. 30, at his former home, Maquoketa, Iowa.

He leaves a sister and half-brother, as well as an adopted son, Samuel L. Seifried, to mourn his loss.

Mr. Harrison came of an excellent English family and was distantly related to the family of that name which was so conspicuous in England and has been in the United States, two of the members having been presidents.

He was born in Hull, England, Feb. 16, 1836. His preliminary and academical education was obtained there and, in this country, though he was an essentially self-educated man, and his attainments in the arts, sciences and general literature were extraordinary. He has an immortality of fame in this connection and by virtue of his material achievements.

He came to this country in 1850, with his father’s family, which settled in Maquoketa, Iowa, where he lies beside his father.

At the outbreak of the war, he enlisted in an Iowa cavalry regiment, but after a few months’ service was discharged on account of constant illness. When restored he again enlisted in Company B., Twenty-sixth Iowa Infantry, served to the end of the war and obtained a captaincy. He saw much service and was twice severely wounded at Fort Donelson and in Arkansas, from the effects of which he never recovered. He was a true soldier and a patriot.

At the close of the war, he came to Chicago and entered upon a successful career as an artist, and at the time of the great fire he was in the front rank of his profession. He was one of the founders of the Academy of Fine Arts and one of its ablest professors. He lost largely in the fire, and instead of resuming his business he concluded to indulge he love for travel and adventure and gratify his professional instinct by a trip abroad.

Thereafter he was a constant traveler for fourteen years in most of the European countries, also visiting Egypt, the Holy Land, becoming familiar with the language, habits, and customs of many people. He could speak and write several languages. He was a contributor to magazine literature on scientific and art subjects, but always over a nom de plume, hence not known to the public directly. On his return to the country, he was engaged in various pursuits in connection with art and obtained favor as a lecturer on foreign lands.

He had decided genius as an inventor. Among the most useful of his inventions are a steam hammer, a compressed air hammer, various improvements in manufacturing machinery, a stereotype printing machine for making printing plates for the use of the blind. The latter is in use in all parts of the world. The last year of his life, while in partial retirement, was devoted largely to the inventing and perfecting of typewriter machines.”

Harrison lies in rest at Mt. Hope Cemetery in Maquoketa, Iowa, near many members of his biological family.

After Harrison’s death in 1895, Seifried and his younger brother Ed developed the latest improved on the stereotype maker and created the Seifried Braille Shorthand Machine.  In the years following Harrison’s death, Seifried continued to pop up in newspapers, here and there.

On April 25, 1897, “The Chicago Chronicle” announced the following real estate transfer “North Fifty-ninth st., 112 ½ ft. w of Wright st. s.f., 25.28×124 ½, April 22 – M. A. Trainer to S. J. Seifried”  (page 21). This pinpoints a location for Seifried in the late 1890s.

In 1900, “The Clinton Eye” reflected on the town’s history, again mentioning Seifried and Harrison. On June 23, 1900, “The Clinton Eye” reported, “Sometime after T. B. Harrison, another erratic genius, came here to paint the drop-curtain for the opera house. He was an artist of rare merit. Though not learned, he was well read, cultured. He painted the curtain, taught drawing, music. Was so pleased with Clinton remained two or three years. He painted and arranged a scenic exhibition, writing the accompanying lectures, and interesting the genial Will Graham, then publishing the Advocate, the late Henry Marvin and others, put the venture on the road, with varying success. While here Harrison grew very much attached to Sammie Seifried, son of W. J. The attachment was so reciprocal that young Seifried became his protégé. They toured the continent, returning located in Chicago. The protégé proved to be a genius too, of the inventive sort, and bringing forth a typewriter of extraordinary value, and the firm Harrison & Seifried ventured into the manufacturing business, successfully. A recent production is a typewriter for use by the blind, spoken of in highest praise by the Eastern press. Harrison died a year or two since, but Sam J. Seifried revers his memory by continuing the business under his name” (page 6).

I was surprised to read about an accident involving Seifried and his sister in 1906.

On Sept. 27, 1906, the “Henry County Democrat” reported “Miss Barbara Seifried Narrowly Escapes Injury. The following from the Galesburg, Ill. Republican Register of Monday will greatly interest the many Clinton friends of Sam J. and Miss Barbara Seifried:

The second railway-automobile accident to occur I the history of Galesburg, took place Saturday night when S. J. Seifried and sister, Miss Barbara Seifried, narrowly escaped severe bodily injury at the crossing of the Knoxville road and the Peoria tracks, of the C.B.&Q., their machine being struck by a freight engine and the occupants severely shaken up. The accident occurred shortly after 7 o’clock. The machine in which the Seifrieds were riding was a light Frankly touring car and they were out for a ride to Knoxville. At the crossing of the Knoxville road and the Peoria tracks the road makes a sharp turn and crosses the tracks at a right angle.

No notice of the approach of the freight train was brought to the ears of the pair in the auto, until just as they were on the tracks when Miss Seifried noticed the engine of the train, then almost upon them. It was too late to attempt to run the car over ahead of the train and Mr. Seifried’s hastily utilized what spare moments were left in the effort to back the car clear of danger, Miss Seifried having jumped when the danger became apparent. The efforts to back the car clear of the tracks was successful and the entire front end of the machine was smashed by the pilot of the locomotive, entailing a loss of several hundred dollars.

Fortunately neither of the occupants were severely injured, although both were badly shaken up and would not care to repeat their experience. No bones were broken, Miss Seifried having sustained a sprained ankle in the jump from the car seat to the ground while the close proximity of the crash between the car and engine pilot to Mr. Seifried served to give him a severe shaking up. The nervous shock and narrow escape was unusually severe, and even as late as this morning neither of the pair had completely recovered their normal nervous state” (p. 2).

On Jan. 9, 1913 the “Henry County Democrat” of Clinton, Missouri, announced: “All persons having claims against the estate of Barbara H. Seifreid, deceased, are hereby notified to present same at once to Samuel J. Seifried, 1712 Foster Ave., Chicago, Ill.” (page 8).

Seifried passed away on Dec. 29, 1912 in Chicago, Illinois, and was buried at the Englewood Cemetery in Clinton, Missouri. He was only 45 yrs. old at the time.

“Great Loss.

Sam J. Seifried Mourned by the Blind.

The death of Samuel J. Seifried, whose funeral service was held in Clinton Thursday afternoon, will be felt with keenest sorrow in all parts of the civilized world, on account of the service his life has brought to the blind.

For many years he has devoted his energies to inventions and devices for the amelioration of the condition of the sightless. When a young man he was an intimate friend of Thomas B. Harrison, an artist well known here, and accompanied him on a journey to France. Both became much interested in the Braille system of writing for the blind, which had not made much progress in later years; and upon their return devoted much study to a plan of bringing it up to date. After Mr. Harrison’s death, the opportunity at length came to Mr. Seifried to carry out a long-cherished plan of devoting his entire time to the needs of the blind; and he added to inventive genius, a good judgement that placed the venture on a sound basis that insured its permanence. The company was incorporated and closely associated with the founder was his younger brother Ed. A practical type writing machine was invented making the Braille characters, so that books and manuscripts were easily transcribed for the use of the bind. The business so broadened so as to take care of every necessity of these afflicted ones, and it stands alone in the world today, the only one of its sort in existence. A recent triumph of his inventive genius is a stenograph or shorthand machine suited for the use of the blind; and there are stenographers and even court reporters who use these machines, indenting characters on a long tape which they can afterwards readily read and transcribe on an ordinary typewriter.

So it is that his life was one of service, too, where it was most needed. And -to-day, wherever there are those in darkness, they love this man who has gone to his reward and will long mourn him as a friend and helper.

Clinton is proud that one of her sons was permitted to achieve so much of real good in the world; and we ae also rejoiced that his work is not to stop, but will be taken up and carried on by his brother.

The funeral service was conducted at the home of his father, Wm. J. Seifried, on North Third street, on Thursday afternoon at 2 o’clock, by Rev. A. N. Lindsey, who spoke words of appreciation of the departed and comfort to the bereaved relative. The house was filled with old time friends who braved shill weather to show by their presence their friendship and extend their heartfelt.

The interment was by the Masonic fraternity, which deposited the body in mother earth with beautiful ritualism” (page 6).

On Jan. 9, 1913, “The Henry County Democrat” announced, “Ed Seifried and wife arrived last night from Chicago, to accompany the remains of the late Samuel J. Seifried” (page 3).

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

The story of American scenic artist and studio founder, Joseph S. Sosman, begins like many other German-Americans.  “Joe” was the grandson of George Sosman (1768-1848) and Catherine Wethers (1765-1842). On July 16, 1796, George, Catherine, and their two young daughters boarded a ship in Hamburg, Germany. They arrived in Baltimore, Maryland, on October 9, 1796, and settled in Hardy County, Virginia; an area now located in West Virginia.

Joe Sosman’s father, Hiram A. Sosman, was the youngest of three sons born to the couple after moving to the United States. His two older brothers were George (1797-1863) and Jacob (1800-1866).

The Sosman family moved west to Ohio in 1821. In Chillicothe, George Sosman opened a bakery on Water Street, between Paint and Walnut. His shop was located near a major shipping route. Keep in mind that the construction of the Ohio & Erie Canal occurred throughout the 1820s and 1830s. Chillicothe became a major canal port, especially for merchants, mills, and meat processors. In the midst of the town’s progress, Hiram matured to adulthood and married his first wife, Eliza Green (1804-1839). The couple was married on February 26, 1828, and soon celebrated the birth of four children:  George William Sosman (1832-1832), Mary Jane Sosman (1834-1916), William M. Sosman (1836-1912), and Maria Sosman (1838-1839). Eliza and their youngest child passed away in 1839.

Hiram married his second wife, Rachel Edmonds (1817-1896), on September 20, 1841. The couple celebrated the birth of three children, with two surviving to adulthood. Their daughter, Martha M. Sosman was born in 1844. Joseph S. Sosman arrived two years later on September 12, 1846. The same year that Joe was born, artist Henry Howe created the engraving, “Chillicothe, from the hill west.” It shows a picturesque view of the small town, with Mount Logan in the distance. Here is the link to Howe’s engraving: https://www.ohiomemory.org/digital/collection/p267401coll32/id/8264

The Sosmans prospered in Chillicothe for almost another two decades. In 1850, the Sosman Household included Hiram, Rachel, and the four children: Mary J. (15 yrs.), William M. (13 yrs.), Martha (6 yrs.) and Joe (4 yrs.)  Hiram and his father, George, operated a bakery. Sadly, the building burned to the ground two years later. Their disaster was included in B. F. Sproat’s publication, “The Great Fire: Chillicothe Ohio, 1852.” Sproat wrote, “Mr. George Sosman’s bakery on West Water street was established June, 1924. His son, Frank, says that when it caught fire, his father pumped water to extinguish the flames until the pump itself caught fire” (page 17).

Joe’s older brother, William M. Sosman, followed in his father’s and grandfather’s footsteps. In 1858 he worked with his father at the Union Bakery, located on the west side of Walnut Street, between Water and Second St. Two years later, William introduced the first mechanical machine to make crackers. At the peak of his success, Civil War broke out.

Hiram was one of many prominent Chillicothe citizens who took a firm against slavery and supported the Union. He helped organize the Chillicothe Association on March 21, 1863. This group organized to oppose rebel sympathizers and the Knights of the Golden Circle.

William was the first to enlist, joining the 54th Reg. Ohio Volunteers. William later served in Co. F, 63^rd Ohio Vol. Infantry, His final commission was second lieutenant in the 106^th regiment, U.S. colored troops. He made quite a name for himself during the Civil War, and continued to make news for his heroic feats and accomplishment throughout the remainder of his life. Joe was especially close with his older brother, evening hiring William’s son, Fred H. Sosman, in the 1890s.

Joe enlisted as a private in the Union Army on May 2, 1864, mustering with Co. C if the 149^th Regiment, Ohio Infantry. Soldiers for the 149th were recruited from Ross and Clinton Counties. This regiment was one of several, established for a 100-day service in 1864. The veterans from these regiments were nicknamed “The Hundred Days Men.” Although short-term and lightly trained, these troop freed veteran units from routine duty, such as guards, laborers and rear echelon soldiers, allowing troops to advance to the front line for combat. The 149th Regiment was organized at Camp Dennison near Cincinnati, Ohio, and mustered in as an Ohio National Guard unit for 100 days of service on May 8, 1864. They were under the command of Col. Allison L. Brown.

On May 11, 1846, Sosman was transferred to Co. A of the 149th Regiment. He was transferred on the same day that the regiment left for Baltimore, Maryland. The regiment became attached to the 8^th Army Corps. From various points along the eastern shore of Maryland in June, they moved to Monocacy Junction on July 4. They were involved in the Battle of Monocacy Junction on July 9, with 100 casualties. On July 13 they moved to Washington DC, then advanced to Snicker’s Gap, Virginia.  On July 20, they were attached to operations in the Shenandoah Valley and saw action with Mosby at Berryville on August 13. The regiment mustered out on August 30, 1864, completing their 100 days of service. On gentlemen from Sosman’s Company A, George Perkins, wrote of their return to Chillicothe:

“A special train was furnished, cars with seats in them, and we sped homeward. When we arrived in Chillicothe we were met by a large outpouring of the citizens, who, to music furnished by the German Brass Band, escorted us up town. We marched up Main Street, and we stepped proudly, but were saddened as we passed the homes of James Ghormely and Edward Armstrong. We were coming home, but these, our friends and comrades, never returned. They starved to death in Salisbury, N.C. prison pen. The good people of Chillicothe had prepared a dinner for us in the market house, and we did justice to it. After dinner we “fell in” for the last time. Marched up Paint street and drew up in front of the Court House, where after a few remarks by the Colonel we broke ranks, each went to his home, and the 149^th Regiment, Ohio Volunteer Infantry, became a memory” (page 38).

Here is a link to Perkin’s publication, “A Summer in Maryland and Virginia; or, Campaigning with the 149^th Ohio volunteer infantry, a sketch of events connected with the service of the regiment in Maryland and the Shenandoah Valley, Virginia” – https://archive.org/details/summerinmaryland00perk  Perkins was credited as “a member of Company A, at the earnest request of his Comrades of the Regiment,” and publication was printed in Chillicothe.

At the end of the war, Hiram relocated his family to Macomb, Illinois. Only William remained in Chillicothe, where he continued to work as a baker. Meanwhile, Hiram established another bakery in Macomb.

Little is known about Joe Sosman’s artistic studies before the war. However, there was an art supplier on Second Street in Chillicothe . J.R. Whittmore placed a series of advertisements in the “M’arthur Democrat” during the 1850s. On Dec. 6. 1855, his advertisement stated,

“Artist’s Materials of every description furnished at short orders and fair process. A large supply of paints and brushes for Portrait Landscape Painters, Toy Paints and Best Water Colors on Hand” (page 3).

If Sosman dabbled in any type of painting before the war, he likely purchased supplies from Whittmore. In Macomb, Joe was recognized as a successful artist and sign painter. Newspaper articles and advertisements track both Joe’s social interests and sign painting career between 1867-1872.

Sosman’s first business partner in Macomb was fellow Independent Order of Good Templars member John B. Russell (1847-1909). John was the eldest son of Hiram Russell (1816-1893) and Elizabeth W. Vaughan (1825-1897). Russell was previously associated with the painting firm of Hail & Russell, “practical painters and paper hangers” (The Macomb Journal, 25 Oct., 1867, page 4).

On Dec. 6, 1867, “The Macomb Journal” listed Jos S. Sosman as Worthy Secretary of Olive Branch Lodge, No. 165, I.O. of G.T.” (page 1).

Founded in 1851, I.O. of G. T. was a temperance group, working to promote the avoidance of alcohol and other addictive substances. Other I.O. of G. T. officers in 1867 included D.M. Graves, Worth Chief Templar; S.J. Clarke Past Worthy Chief Templar; Geo. W. Hamond, Worthy Financial Secretary; Mary Hampton, Worthy Vice Treasurer; T. Bonham Worthy Chaplain; J.E. Russell, Worthy Marshal; Tillie Graves, Worthy Guard; Junior Treasurer Russell W. Sen.” In 1868, J. B. Russell was listed as the Worthy Chief Templar of Olive Branch No. 165 (The Macomb Journal, 17 April 1868, page 1). In that same issue, Russell advertised his new business venture with Sosman.

On April 17, 1868, “The Macomb Journal” reported, “Our young townsmen, Sosman and Russell, have some time since formed a partnership in the business of painting. Their shop is on south Lafayette street over McClintocks wagon shop. Those who wish any work in their line are requested to give them a call.- We hear it said that Sosman is a real fine artist, and can letter a sign equal to the best” (page 3). The accompanying J. S. Sosman & J. B. Russell advertisement included the following information:

“SOSMAN & RUSSELL,

Tender their services to the people of Macomb and surrounding country as House, Sign & Ornamental painters, paper hanger, grainers & Glaziers,

A fair share of work is respectfully solicited, Shop over McClintock’s Wagon shop, South of Square, on LaFayette st.”

Sosman & Russell continued to place advertisements in the paper later that spring and summer. I have yet to uncover how long their firm lasted, or what prompted its dissolution.

In 1870, the US Federal Census listed Sosman as a painter, still living with his father, mother, and sister. He continued to be listed as part of the Sosman household until 1880. The scope Sosman’s painting projects began continued to expand throughout the decade.  On April 12, 1872, “The Macomb Journal” mentioned Sosman’s sign painting work in “Our Chatter Box” section of the newspaper: “E. H. Black, one of Macomb’s enterprising Book Store men, has treated his establishment to a new and elegant sign; of course from the brush of Joe Sossman [sic.]” (page 3). His painting works consistently made the local news, especially after finishing a new sign for the newspaper.

On June 21, 1872, Sosman placed an advertisement in The Macomb Journal (page 3):

“Stencil Outfit for Sale at a Bargain. – a complete set of Stencil and Key-Check Dies, consisting of three sets of Dies for cutting name plates, etc. – Two sets for making key and baggage checks, and material enough for making 300 name plates and a like number of key checks; also a lot of hotel room and baggage checks, inks, brushes, boxes, etc., and all tools necessary for working. Every thing complete and ready for traveling. To aa person wishing to travel in a light and profitable business, this is a rare opportunity. Tools, etc., from S. M. Spencer & Co., the best made. For particulars call on, or address, J. S. Sosman, Macomb, Ill.”

On August 29, 1872, the “Macomb Journal” reported, “That beautiful new sign, the handsomest in town, in front of the ‘Journal Office’ is the work of Joe Sosman, of whom there is not a more artistic sign painter in the west.” This was the beginning of Sosman’s intimate relationship with the press, and soon, Sosman was called upon to paint scenery at the local opera house. Sosman’s first scenic art project was at Chandler’s Opera House in Macomb.

Years later, “The Macomb Journal” remembered, “In 1873 [Sosman] was at his home in Macomb, Ill., and had partially painted the Macomb Opera House, when the owner sent to Chicago for an expert to put on the finer finishing touches” (May 26, 1886). Sosman worked as an assistant to Thomas B. Harrison. Harrison’s permanent residence was in Chicago, but like many itinerant artists at the time, he completed projects throughout the region.

After the opera house opened, Harrison went on his way, and returned to sign painting. On Sept. 25, 1873, “The Macomb Journal” announced, “……..New signs have been flung out at the First National Bank, Davis’ grocery store, Philpot’s photograph rooms, and Bowles grocery store; they are artistic in design, and of course the work of that excellent artist, ‘Joe Sosman.” On Oct. 9, 1873, “The Macomb Journal” reported, “Business Directory. Macomb’s talented young artist, Joe Sosman, is engaged in getting up a business directory of our city, different from any heretofore gotten up. It will be some 18×24 inches, then center of which will contain a photograph of McDonough Court House. Around this will be grouped Business Cards. Quite a number of cards will be printed, framed and hung up in the Dept, Hotels, and other prominent places of resort in the county. As an advertising medium, it will surely pay. We bespeak him a liberal patronage among our business men”(page 2).

Sosman’s success prompted him to embark on new business ventures. On April 30, 1874, “The Macomb Journal” reported, “Our enterprising and energetic fellow townsmen, C. Hamilton and Jos. Sosman, have purchased an out-fit and will travel through the states with beautiful and instructive “Sun Picture” entertainment. They have purchased entirely new pictures, and the most powerful magnifying instrument manufactured. They intend giving an entertainment in this city next week, after which we will give them a more extended notice. In the meantime we hope that every citizen of this town will turn out to their exhibition, and give them a good ‘send off’” (page 3).

I need to clarify exactly what Sosman and Hamilton were peddling. Their sun picture entertainment is not to be confused with the photographic process of using the sun to capture and image; that practice was also referred to as “sun pictures.” On October 31, 1874, “The South Bend Tribune” advertised “A Fine Entertainment. Hamilton & Sosman will give an exhibition of colossal sun pictures, representing a tour round the world at Good’s Opera House, on next Monday night, which will be free to all” (page 4). This was a magic lantern show.

I was curious about Sosman’s second business partner, Hamilton, so did a little digging. Charles Wilson Hamilton (1853-1901) was the son of G. W. Hamilton, a hardware merchant in nearby Prairie City, Illinois. For geographical context, Prairie City is located only 10 miles northeast of Macomb. In 1870, the US Federal Census listed Hamilton as living with his family in nearby Prairie City. Sosman and Hamilton’s business venture did not last a year. By 1875, Hamilton returned to his family home. In 1880, he was listed as Dry Goods Merchant in Prairie City, a profession he continued until his passing in 1901.

The downfall of Hamilton & Sosman in 1874 may have been competition. In 1874 there were many other sun picture entertainments, including the the Tremain Sun Picture Troupe and Leslie’s sun pictures and concert troupe. These two touring shows were much more impressive and littered regions with advertisements. From a cultural context, Sun pictures” had been popular for quite a few years by this point.  Some Sun pictures blended scenic illusion with projections. On Jan. 27, 1870, “The Baltimore Sun” published an advertisement for Prof. Merchant’s Sun Pictures at the Maryland Institute (page 2). His advertisement promised, “Remarkable, exquisite, instructive and pleasing chemical dissolving diorama of cities, ruins, plains, lakes, mountains, rivers, forest and valley. Depicted with remarkable fidelity. Each picture fourteen feet square, and not hastily drawn and painted, but the combined efforts of the Best Artists in the Country. The public can form no estimate or magnitude of this singular and beautiful entertainment, unless and optical demonstration is had. Admission 25c; Reserved seats 50c. Children accompanied by parents, 15 c. Family Matinee Saturday Afternoon.”

In 1874, Hamilton & Sosmans’ sun pictures entertainment competed with Tremaine’s Colossal Sun Pictures of Travel and Art. On Nov. 4, 1874, “The Times Herald” of Port Huron, Michigan, advertised the themes for daily shows: Wednesday Evening – From New York to Jerusalem; Thursday Evening  – The Splendors of Paris, the Ports of the Mediterranean and the old City of Rome; Friday Evening – “Central Europe,” Italy, Switzerland and Germany; and Saturday Evening – From Constantinople to Jerusalem – A Grand Tour through the Bible Lands (page 8). On May 7, 1874, “The Oskaloosa Herald” in Iowa reported, “The Tremaine Sun Picture Troup exhibited at City Hall some half a dozen evenings, and is highly spoken of by all who saw the exhibitions. We can recommend it to our brethren of the press” (page 2).Five years later, on May 6, 1879, “The Junction City Times” reported, “The sun picture entertainment at Centennial Hall, on Monday, Tuesday, Wednesday and Thursday evenings, next week, will be rendered by the aid of a powerful calcium light, and the views will be as plain and beautiful as the original. The entertainment will consist of views in every part of the world” (page 3). Previously, artists crossed the country with illustrated lectures featuring moving panoramas. This remained

Despite the failure of Hamilton & Sosman, Joe continued to travel. On Jan 7, 1875, “The Macomb Journal” reported, “Joe Sosman, Macomb’s artistic painter, has gone to Mount Sterling to do some fine painting on a new hall in that place” (page 4). Mount Sterling, Illinois, was approximately 40 miles due south of Macomb. 1875 seemed to be a transition point for Sosman, redirecting his focus to scenic art opportunities. His scenic art skills, acquired while assisting Harrison in 1873, became a very valuable asset on the road. Scenic art projects were considerably larger and much more lucrative than commercial signs and decorative painting.

To fully appreciate Sosman’s transition from sign painting to scenic art, I will explore the life and career of Thomas Benjamin Harrison in my next post.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

This is my last Sosman & Landis employee biography – number 100!

I began this journey on March 28, 2021, with the story of Frank Landis, Perry’s younger brother and salesman for the firm. At the time, I had a few dozen names and planned to spend only a couple months researching and writing biographies.  Fortunately/unfortunately, new names continued to pop up all over the place as I read newspaper articles and searched various databases. Never in a million years could I have anticipated writing one-hundred biographies over the course of twenty months.

As planned, I have a garnered a great sense of the various personalities who passed through the studio over the course of several decades.

This last employee – A. M. Paton – ties many loose ends together. I first encountered Paton in a Sosman & Landis newspaper article while researching George Wood and Lawrence Donohue. His tale really sums up the experience of so many artists who left everything familiar and settled in the United States during the 1880s. In my opinion, this particular decade was a golden era – the perfect time to begin work as a scenic artist in America. There was a greater demand for scenic illusion than scenic artists to paint it, especially in the western United States where the construction of new theaters offered endless opportunities and high profits.

Paton, like both Joseph S. Sosman and Perry Landis, also invested in a variety non-theatrical business endeavors.  I have now encountered numerous artists who dabbled in newspapers and real estate. How brilliant, as good publicity and a good location remain key to the success for many artists and businessmen. 

From Newcastle-on-Tyne, England, to Ulysses, Kansas, in the United States, here is Paton’s tale.

Alexander M. Paton was born in Edinburgh, Scotland, in 1858. He was the son of Alexander Paton Sr. (1818-1894) and Margaret Russell (1820-1891). One of ten children born to the couple, his siblings included: Jane (b. 1843), Genia (b. 1844), John (b. 1845), William (b. 1847), Elizabeth (b. 1848), Mary (b. 1849), Agnes (b. 1850), Margaret (b. 1855), Robert (b. 1860) and Richard (b. 1963). Between the births of the two youngest sons, Robert and Richard, the Paton family moved from Edinburgh, Scotland, to Berwick upon Tweed, England. Berwick is a town at the mouth of the Tweed River, approximately 56 miles southeast of Edinburgh and 65 miles north of Newcastle upon Tyne. For geographical context, the Tweed River is the demarcation line between Scotland and England along the east coast of each country.

Paton came of age working for his father in Berwick. He worked alongside his younger brother, Robert, in their father’s bookstore. A. Paton & Sons, bookseller, was located at 51 High Street in Berwick-on-Tweed in England. The 1879 Post Office Directory of Durham and Northumberland listed Alex Paton as a stationer in on High St., Berwick-on-Tweed, with the Trade Section of the Directory listing Paton as a bookseller – A. Paton, High St., Berwick-upon-Tweed. Berwick’s town center is Mary Gate and High Street, placing the Paton’s in the center of town.

The 1881 England Census listed the Paton family living at 49 Mary Gate, listing Alexander Paton Sr. as a bookseller and printer. The occupations of his three sons were as follows: Alexander Paton Jr. (23 yrs., bookseller), Robert R. Paton (20 yrs., printer and compositor), Richard Paton (18 yrs., chemist and druggist). Other members of the household at the time included Alexander M. Paton Sr. (62 yrs., bookseller and printer) and Margaret R. Paton (25 yrs., housekeeper).

Sometime in 1886, or early in 1887, Alex Paton Jr. began reading the “Grant County Register,” published in Ulysses, Kansas. Possibly sent by a friend, this newspaper was first published on July 21, 1885, for a town of approximately 500 settlers. At the time, A. Bennett was the editor and proprietor, with Charles D. Majors as the general manager. Grant County’s “Register” began as an eight-page folio, with the first number printed in Lakin, Kansas; the printing press was late upon its arrival to Ulysses. For geographical context, Ulysses is located in southwestern Kansas, about halfway between Wichita, Kansas. and Pueblo, Colorado; 45 miles southwest of Garden City, Kansas.

On June 1, 1887, the “Ulysses Tribune” reported, “A. M. Paton of Newcastle-on-Tyne, England, arrived in New York on the 23d ult., and is now located in Ulysses. He is an old friend of Harry King and T. D. Hind, who were glad to greet him.” Both Harry King (1858-1946) and Thomas D. Hind (1848-1940) were fellow Englishman. Hind moved with his family from England to Illinois in 1877, continuing west to settle in Kansas by 1878.  King also emigrated with his family to the United States (by way of Canada) in the 1870s, settling in Kansas and starting a family by 1880.

On June 4, 1887, the “Grant Country Register” also announced Paton’s arrival (page 5). The article detailed, “A.M. Paton arrived Monday from Newcastle on Tyne, England, and is the guest of his old friends, Mr. and Mrs. T. D. Hind, of Riverside hotel. This is Mr. Paton’s first introduction to America, and he says it suits his taste better than old England. He read the Register across the waters, and the contents of the paper induced him to make the voyage. He was disappointed at every city he visited in Kansas except Ulysses, which agreeably surprised him. Mr. Paton will make this city his future home.”

Thomas D. Hind was part of the Kansas, Land, Loan, Irrigation & Investment Co. of Hutchinson County, Kansas.

Hind was named in advertisements in 1886 attempting to entice settlers to Surprise, Kansas promising, “the benefit of good schools, churches and the best of society” (The Surprise Post, 6 July 1886, page 8). Surprise was purportedly located twenty miles due south of Hartland. In 1886, Hind not only was an official agent for the Surprise Town Company, but also was proprietor for The Prairie Queen hotel there.

Hind’s ads in “The Surprise Post” stated:

“T. D. Hind,

Agent for the Surprise Town Company,

Is empowered to offer special inducements to investors. The lots have been placed at low prices, in order to build up the town and make money for the purchasers. Come early and secure choice lots in one of the most promising towns in Southwest Kansas. Correspondence solicited. Address T. D. Hind, Surprise, Hamilton County, Kansas.” (The Surprise Post, 10 June 1886, page 8).

Although Hind initially promoted the new town of Surprise, Kansas, he soon set his sights on Ulysses, Kansas. Ulysses is located approximately 14 miles south of Surprise

On Oct. 30, 1886, the “Grant County Register” announced, “T. D. Hind, formerly town agent of the Surprise Town Co. and landlord of the Prairie Queen hotel at Surprise, has rented and taken personal charge of the Riverside hotel, Ulysses, which he is giving a thorough renovation. Mr. Hind is an experienced hotel man and will run the Riverside in a creditable manner. The table is first class” (page 1).

Interestingly, Hind was not always popular with everyone. 

I am including a few more articles about Hind to “set the stage” for Paton’s arrival in 1887. On Nov. 19, 1886, the “Garden City Daily Herald” included an article entitled “Pistol Practice” about Hind reporting:

“A shooting scrape occurred at Ulysses Wednesday between T. D. Hind and A. D. Hunt which came very near to resulting in the fatality as to the latter party.  Hunt followed Hind into the post office and commenced abusing and applying all sorts of offensive ephithels to him when Hind pulled out his revolver and fired five bullets at him.  The first two shots went into the ceiling, but the third and fourth shot struck Hunt in the right side, just under the arm, the bullet coming out of the back under the shoulder blade. Mr. Kiarney stepped in about this time and caught Hind, but was unable to control him until he had emptied his revolver. None of the shots, however, took effect. The shooting caused intense excitement. Hind was arrested by the constable, Daniel Springer, and was bound over to appear at the district court in the sum of five hundred dollars. At last accounts he had not succeeded in securing bonds and will probably have to go to jail. Mr. Hind has a wife and two children and is running the hotel at Ulysses. We are informed that he has but few friends in the community. It is thought that with good care Mr. Hunt will recover, although his wound is very painful and only missed the heart a few inches” (page 1).

On Feb 12, 1887, the “Grant County Register” reported, “We were glad to see T. D. Hind return to Ulysses Sunday. Mr. Hind was bailed out by the Ulysses Town Company” (page 8).

In the spring of 1887, Hind was living at his Riverside Hotel, but began to expand his real estate acquisitions. On April 16, 1887, the “Grant County Register” reported, “Joseph Bittiker’s house has been rented by T. D. Hind, of the Riverside, who will use it for sleeping accommodations for his numerous guests” (page 5).

Although Hind lived at the Riverside hotel, he was building a large home on the outskirts of town. During construction, his wife and children lived in a “shanty” at his land claim. On April 20, 1887, “The Garden City Sentinel” provided a little glimpse into Hind’s shanty (page 3):

“T. D. Hind went out to his claim with a covered hack to bring his family into town, and on arrival at the shanty he found his wife and children in a sad predicament owning to the water running into the house. The house is five feet in the ground. It was not made waterproof. Mr. Hind is building a fine residence on the southeast corner of the claim, in full view of Ulysses, Cincinnati and Surprise.”

A few months later, Paton was Hind’s guest at the Riverside Hotel. After deciding to stay in the area, Paton placed an advertisement for work in the “Ulysses Tribune.”On June 11, 1887, Paton’s advertisement listed that he was a “sign painter, decorator, and artist in oil colors [who] undertakes all kinds of work in this line. For moderate estimates apply at the Riverside Hotel.” His advertisement was also mentioned on the front page: “Read the advertisement of A. M. Patron, artist, in this issue.” There are a few things to consider. The first is that when Paton arrived in Ulysses (at the age of 29), he advertised himself as a painter. I highly doubt that he embarked on an entirely new career at this time. In other words, his advertisements as an easel artist, sign painter and decorative painter suggest some training and past experience in England.

On July 23, 1887, the “Grant County Register” reported, “Mr. A. M. Paton, who lately arrived in Ulysses from England, is in receipt of several letters from his father, who cannot for the life of him, in merry England, conceive how a habitable house can be built here for ten pounds. To give Mr. Paton’s inquiries, his surmises and doubts, would fill an interesting column. We ask him to address a letter to the Register.” This was the same paper that Paton first read in England, likely the same newspaper that was still being sent to his father’s bookstore. It indicates that his family knew where he was and stayed in contact.

Some of Paton’s earliest painting projects in the area were contracted by Hind. On June 15, 1887, the “Garden City Sentinel” reported, “A. M. Paton, a new arrival in Ulysses, from England, has a painted picture of the Riverside hotel and is at present engaged on one of Dr. C. B. Core’s new residences. Mr. Paton will also paint the signs for the new Edwards hotel.” Hind also owned and managed the Edwards hotel in Ulysses. He remained associated with the property until the fall of 1887, when “The Grant County Register” reported, “T. D. Hind has withdrawn from the management of the Hotel Edwards, his successor being G. S. Hoffecker.”

Paton’s name continued to appear in local newspapers, providing insight into not only his past life, but also his current activities in Kansas. On October 12, 1887, the “Ulysses Tribune” reported, “At the literary Wednesday evening, Mr. A. M. Paton read ‘Tam O’Shante’s Tale’ in the Scotch dialect. Mr. Paton is a native of Edinburg, and his rendition of this popular poem was easy and natural and the dialect perfect.” Here is a link to “Tam o’Shanter” by Robert Burns: https://www.scottishpoetrylibrary.org.uk/poem/tam-o-shanter-tale/

By the fall of 1887, Paton began to diversify his employment and investments in the region.  On Nov. 9, 1887, the “Ulysses Tribune” announced, “Mr. A. M. Paton has accepted a position with this paper in the capacity of business manager, and will lend his time and labors toward increasing the patronage and circulation of the Tribune.”  This was only six months after the newspaper was founded by George W. Perry, providing Paton with a wonderful opportunity to promote both himself and his various activities.  

In addition to the newspaper position, Paton began investing in local business enterprises.  On Dec. 21, 1887, the “Ulysses Tribune” reported, “A. M. Paton and Wm. Brown will erect a building on Central Avenue to be used as a barber shop and bathroom. Work is to be commenced at once.” The bathhouse opened, listing Paton as the sole proprietor. He placed a series of  advertisements in the “Ulysses Tribune” for several weeks.

By the beginning of 1888, Paton began to travel throughout the region. On Jan. 21, 1888, the “Garden City Register” announced, “H. G. King, A.M. Paton and W.B. Rorick were in Garden City this week” (page 5). All the while, he continued to paint. On March 7, 1888, the “Ulysses Tribune” announced, “A. M. Paton has painted a very handsome sign for H. G. King’s real estate office” (page 1). By this time, Paton, King, and Hind were all investing in land. In the end, however, they failed to pay the necessary taxes and were subsequently listed as delinquent tax payers.  This prompted a swift relocation for all parties involved.

By the fall of 1888, Hind and Paton had left town. In October, Paton put his house up for sale and moved west to Kansas City, Missouri. He placed advertisements for his frame house, measuring 12×16,  in the “Ulysses Tribune”. The advertisement listed – “House for sale. A 12×16 frame house for sale belonging to A.M. Paton. House now located at the east end of Prospect Avenue, Ulysses. Will be sold cheap for cash. Apply at this office.”

Similarly, Hind moved from Ulysses to Hutchinson, Kansas.  On Nov. 23, 1888, “The Larned Eagle-Optic” reported, “Mr. T. D. Hind, of Hutchinson, a professional dresser and trimmer, who learned the business in London, England, and subsequently followed it to New York and Philadelphia, spent last week in this city dressing the show windows and decorating the interior of the Boston Store, and completed the work in genuine metropolitan style, displaying rare genius in the artistic arrangement of draperies and the harmonious blending of colors. The Boston Store in consequence presents a most beautiful and attractive appearance, equal to anything that can be found in our largest cities. Mr. Hind, we are informed, will pay this city another visit shortly before Christmas and dress the Boston Store in its holiday attire” (page 3). There is absolutely no mention of his stay in Surprise, Ulysses, or any past land investments.

As for Paton, by the spring of 1889 he was living Kansas City, Missouri. Paton was listed in the City Directory as working at 124 Commercial block, and rooming at 717 Penn. He continued to take out advertisements, marketing himself as a Scottish artist.

On April 7, 1889, he advertised in the “Kansas City Times”:

“Personal – Alec Paton, artist, from Edinburgh, Scotland, gives lessons in oil painting morning or evening, 50 cents per lesson. Visitors are invited to the studio. Room 124, 1108 Main st.” For geographical context of the location, the W. W. Findlay art store was located a few doors away at 1112 Main. Findlay ran a well-known establishment, originally founded in 1870. 

Paton continued to run advertisements that spring, each with a little variation:

April 16, 1889, “Kansas City Times” – “Aleck Paton, artist, teaches drawing and oil painting in a few lessons; 50 cents a per lesson, room 124, 1108 Main.”

May 15, 1889, “Kansas City Star” – “Aleck Paton, artist, gives lessons in painting daily; pupils always successful; exhibition of work shortly; visitors invited. Studio 1108 Main st.”

May 18, 1889, “Kansas City Star” – “Enlarge your own photographs life size – Crayon, pastel or oil portraiture taught in 5 lessons: proficiency guaranteed. Paton, artist, 1108 Main st.”

May 31, 1889, “Kansas City Star” – “A. Paton, artist, gives lessons daily in drawing, painting and art decorating; 3 hour lesson 50c; materials provided. Studio 1108 Main st.”

Paton did not remain in Kansas City for long, and moved to St. Louis, Missouri by the fall of 1889. Paton traveled quite a bit during his time, advertising in many other newspapers across the country, including the “Tarborough Southerner” in North Carolina, always listing his home residence as 1114 Olive Street.

In addition to offering art lessons, Paton began advertising “crayon portraits,” rapid sketches in pencil or charcoal. Paton’s new home and studio was located at 1114 Olive. He advertised in both St. Louis and St. Joseph newspapers. On March 16, 1890, the “St. Louis Globe-Democrat,” mentioned A. M. Paton performing as “the crayon artist” as part of the Arcade Club Entertainment at West St. Louis Turner Hall, located on the corner of Beaumont and Morgan streets (page 8). Paton’s artistic performance was listed alongside musical entertainment for the evening.  His title as “crayon artist” changed to “lighting artist” the next month. On August 6, 1890, the “St. Joseph Herald,” listed Mr. A. M. Paton as a “Lightning Sketch Artist” who was part of Ideal Mandolin Club Plays program (page 7). Lightning artists were very popular at the time, recognized as stage performers who entertained crowds with quick sketches. Their performance often includes narrations by the artist and funny tales, while drawing, painting, or sculpting clay.

It was likely his Lightning artist act that brought him into contact with P. J. Toomey of Noxon & Toomey, St. Louis.  Paton soon began representing the firm as a scenic artist and decorator.  On April 6, 1891, “The Kearney Hub” reported, “Decorators Here. The opera house decorators did not arrive Friday as expected, but are here now. A. M. Paton, representing Noxon & Toomey, scenic artists, of St. Louis, and Messrs. Parquette and Coldewe arrived last night, The latter gentlemen were melting glue and grinding colors to-day, and to-morrow will begin the work on the ceiling. The foreman will be here ton-night” (page 3). He returned with Toomey for opening night at the Opera House and was again mentioned in “The Kearney Daily Hub” on May 2, 1891 (page 1): “In the other box of the second tier were seated P. J. Toomey, of Noxon & Toomey, the scenic artists, A. M. Paton, their representative here, and Miss Helen Harney.”

This is quite significant and indicates the value that Toomey placed on Paton’s work. It is unusual for a studio owner to very publicly attend an event with an employee unless that individual is a great asset to the firm.  By 1901, Paton is still working with Toomey, listed as the Secretary of the Toomey & Volland Co. However, Paton’s employment as a scenic artist in America tales many twists and turns before that.

In 1892, Paton partners with another artist named Keller to establish Keller and Paton. The two place the following advertisement in the “St. Louis Globe-Democrat” on July 10, 1892 (page 20): “Keller & Paton, artists, studio, 307 Hagen Opera House, Specialty – Fine Portraits; inspection invited.”

There were quite a few Midwestern artists who shared he last name of Keller. However, the likeliest candidate seems to be Jacob Keller, a German-born artist who worked in St. Louis from 1880-1915. In 1880, Keller was listed as a fresco artist in the St. Louis Directory. He remained in St. Louis, working as an artist until his passing in 1915. Both of Keller’s son’s, Arthur and George, followed in their father’s footsteps and were listed as “sign writers” in the 1900 US Federal Census. In 1892, Jacob Keller was 45 years old, and Alexander Paton was 34 yrs. old.

A month later, the “St. Louis Globe-Democrat” mentioned Keller and Paton transparency paintings in an article entitled “Panorama of Light” –

“The illumination test last night was a magnificent success, and the down-town thorough-fares looked like street of Candy Town in Fairyland. Thousands upon thousands of many-colored globes shed their mellow lines upon the enchanted crowds that thronged to see them; electric lights almost without number flashed in gorgeous festoons from every meeting of the vast network of wires on Broadway, Twelfth and Olive streets, Washington and Franklin avenues; and dozens of colossal set pieces told in pictures of flame the story of the nation’s discovery, growth and prosperity. The beauty and colossal proportions of the display outrivaled anything ever before attempted in the world. For without electricity competition would be in vain; and the present is the most costly and extensive electric illumination ever contracted for.

The ‘test’ display of last night was begun a few moments before 7 o’clock and lasted until 8:30. The arches, gas and electric, on Broadway, Olive street, Washington and Franklin avenues were first turned on, making the several streets light as noon. The green arch of the Presidents on Broadway, between Pine and Chestnut, the transparency of the sailing and landing of Columbus on Broadway and Locust street and the accurate likeness of Washington at Broadway and the avenue of his name all inspired unbounded admiration. The Columbus portrait at Thirteenth and Olive streets looked natural as life. The painting of the transparencies was executed by Keller and Paton, and are really admirable from an artistic stand-point. The greatest terrestrial globe at Broadway and Olive was somewhat tardy in lighting up, but at 7:45 it began to whirl on its axis, and the oceans, islands and continents, sprung out in bold relief. The globe is the Kohinoor of the illumination. The Santa Maria arch at Twelfth and Market streets, vying for supremacy with the great globe in point of beauty, created a decided sensation when finally lit. The quaint old-style ship, riding over gloriously tinted waves- and waves. Too, that seemed to swell and heave in brisk gale – was a sight certainly unique. The statue of Liberty in a new dress of bronze lifted her blazing beacon to the world as patiently and proudly as during the last year.

“Owing to the fact that the final touches had not been put on the star of the Western World set piece at St. Charles and Twelfth streets and the Grants flags, these two prominent designs were not illuminated. The electric power was found to be more than enough on the ‘Globe’ at Broadway and Olive, many of the small incandescent burning out completely and a large rent being made in the surface of the miniature earth. When the grand affair began to hiss and sputter threateningly the big jam at the intersection of the streets below resolved itself into a panic-stricken mob. The wife of a real estate man fainted and fell to the pavement. But for the timely assistance of Officer N. C. Vaugn the lady would have been trampled to death by the throng. She was revived at a drug store and was none the worse for the experience. Two little boys were knocked down by horses on Twelfth street, near Olive, but neither were injured on account of the slowness of the beasts.

“It is estimated that fully 80,000 people were on the streets last night. Nothing like the throng has been seen since last year’s Veiled Prophet’s parade, and it is doubtful if the thoroughfares were more ‘jammed’ then. The next illumination will be given on September 1.

“The illumination was the occasion of a large number of visitors to the new Globe-Democrat building, while waiting the grand display of electric lights and gas-jets, took advantage of the opportunity to inspect the largest and most perfect newspaper establishment in the world. They were shown through the mammoth building and viewed with interest the complicated machinery and latest appliances of modern invention to be found in an office building, as well as the intricacies of the interior workings of a great newspaper” (August 16, 1892, page 12).

In St. Louis, Paton purchased a home. On Jan. 17, 1893, He was listed in “St. Louis Globe-Democrat” when he purchased a home from the Tuxedo Park Land improvement Company for $500 (page 5). With a St. Louis home, Paton became subject for other civil duties in the cities, including jury duty. In the end, he was excused as he was not a US citizen.  The article “St. Louis Post-Dispatch” from April 24 announced, “Are Not Citizens.” The article continued, Alexander M. Paton, an artist living at 10 South Sixth Street, and John T. Mooney, clerk at Scruggs, Vandervoort & Barney’s, residing at 2215 Sidney street were summoned to act as jurors in the Criminal Court this morning, but were excused on the ground that they were not citizens of the United States.”

He continued to work as an artist, and became secretary of the St. Louis Sketch Club (18 Feb 1896, St. Louis Globe-Democrat, page 4). Paton continued performing on the stage too. A very interesting article about his sculpture work made newspapers across the country. On Dec. 11, the “Albany Democrat” in Oregon described Paton’s latest performance:

“We hear a great deal about mud slinging during a political campaign. The St. Louis Republic tells of a case of genuine mud slinging that is very interesting and beats politics at every corner. At am entertainment the unique feature of the program was a surprise sprang by Mr. A. M. Paton, the well-known artist. He was down on the program for lightning sketch and modeling, and after the usual display of rapid picture making he had his assistant bearing forward a table covered with about 50 balls of mud. Standing in front of the platform he began throwing the balls at the surface of his modeling board, and before the audience quite understood the meaning of the queer proceeding, he had shaped the conglomerate mass of clay into the shape and features of a human head and face. With a few rapid strokes of his deft fingers a wrinkled face appeared, with hollow cheeks and sunken eyes of old age, the sweep of a comb, and a matted beard and mustache was there on an aged face, leering from the board. The artist was greeted by surprise applause, and without removing the clay changed the plastic mass, into the typical faces of all the races of men. The Scotman, Irishman, negro, Englishman and Chinaman, gave way to the American Indian, and them to the well-known face of Uncle Same. The face presented was the common in the end to all, the grinning skull.”

Paton continued to return to England and appears on the Outward passenger lists from the UK and Ireland on Jan. 5, 1901; sailing on the Umbria. Paton continued to live and work in St. Louis where he remained associate with P. J. Toomey’s scenic studio. Remember that in 1891 he represented Noxon & Toomey.

On May 10, 1901, Paton was working for Toomey & Volland at the Stone City Opera House in Bedford, Indiana. On May 10, 1901, “The Bedford Weekly Mail” reported, “Mr. A. M. Paton, Secretary of the Toomey and Volland Scenic Co., of St. Louis, has for several days been placing the scenery upon the stage of the new Stone City opera House, for its approaching opening and future mission. By courtesy of Mr. Paton we were permitted to view the splendid array of scenery, and were lead into a full detail of its arrangement, which owing to the complete and modern construction of the house, the gentlemen claim, will make a most satisfactory showing when completed – which we were informed will be about the last of this week – will constitute one of the most elegant and perfect working stages in Indiana.

“The Toomey and Volland Scenic Co., of St. Louis, enjoys the distinction of being the first in scenic art and stage equipment, and the management of the new Stone City has been very fortunate in securing work of their execution, and their personal services in dressing the stage.”

There is a little backstory that will provide context for Paton’s work at Noxon & Toomey and Toomey & Volland in St. Louis. All of the players really shape Paton’s scenic art experience. Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He apprenticed himself to Thomas C. Noxon at Deagle’s Varieties. The two established Noxon & Toomey in 1869, with Ernest Albert joining them in 1881 to form Noxon, Albert & Toomey. Although it was a short-lived firm, it shows indicates the high quality of scenic artists passing through the studio doors at the time.  At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14).

Noxon passed away in 1898, but the firm of Noxon & Toomey continued for the next threeytears. In 1901 the name changed to Toomey & Volland, reflecting the new second partner, Hugo R. Volland. Volland rose through the ranks in a similar fashion to Thomas G. Moses at Sosman & Landis. Both Moses and Volland eventually took over the running of each firm. Toomey was a close friend of Thomas G. Moses of Sosman & Landis. Prior to the death of Toomey in 1922, the two studios shared both projects and artists over the years. So, when Paton begins working for Noxon & Toomey in 1891, it is under the leadership of senior partner Noxon.  Toomey was the junior partner who frequently traveled for the firm, hence why he attended the 1891 opening of the Kearney opera house with Paton.  Noxon & Toomey become Toomey & Volland after Noxon’s passing in 1898, but it takes a few years. At this point, Toomey becomes the senior partner, and Volland is the junior partner. The dynamic of the studio shifts. After Toomey’s passing, Toomey & Volland is immediately renamed Volland Scenic Studio.

The studio’s namesake, Hugo R. Volland, was born on May 6, 1866 in Großenbach, Germany. He was first listed as a St. Louis resident in 1888, living with his brother Otto Volland, and advertising as a painter. He first worked for Noxon & Toomey as a scenic artist and later secretary for the firm by 1892. By 1901 be was listed as vice-president of Toomey & Volland, with Paton stepping in as Secretary for the firm.

In regard to scenic projects that occurred during Paton’s time at both Noxon & Toomey and Toomey & Volland, it greatly varied as in many studios at the time. However, Toomey was best known for his electrical floats, and excelled in this line for over 25 years, placing his studio staff at the forefront of many projects. Paton likely gained much of his electrical knowledge from Toomey in the 1890-1891. This was immediately before he partnered with Keller on the Panorama of Light project in 1892.

In 1902, Paton briefly works with Sosman & Landis on a project in Bowling Green, Ohio.  Although the newspaper misprints the initials of his first name, this is the same guy.  On August 6, 1902, “The Daily Sentinel-Tribune” of Bowling Green, Ohio, reported, “F. A. Paton, representing the Sosman & Landis company, scenic artists of Chicago, was here yesterday making arrangements for the scene and curtain painting for the new Chidester theatre. The work will be handsome and attractive when done.” (page 5).  The venue opened Dec. 19, 1902.

In 1904, Paton again relocates his home and business, heading west with many other scenic artists who recognize the untapped potential of the West Coast. In addition to an abundance of work, California’s temperate climate was ideal. Many Chicago scenic artists moved to the west coast, after apprenticing in Chicago. On Nov. 27, 1904, Paton sells his Tuxedo Park home at a loss, receiving $100 less than he originally paid for it (St. Louis Globe-Democrat, page 32). He journeys we where he purchases several properties from the Jacob Heyman Co. in San Francisco (San Francisco Chronicle and San Francisco Examiner real estate transactions, July 1905). He also buys property in Los Angeles from H. W. Wilson (Los Angeles Herald, 4 Nov. 1905, page 7). 

Paton is listed in both the 1905 San Francisco Directory and the 1906 Fresno Directory, working as a scenic artist and living at 609 Jones.  Other scenic artists listed in these two directories included:

Barr, A. L., 426 Eddy

Bell, George R., 660 Castro

Brooks, Joseph M., 361 Geary

Cutler, Frank E., 522 Van Ness Av.

Duran, Edward C., 8 Gough

Dye, Clarkson, 1418 California

Englander, Edward, 536 O’Farrell

Engwer, Charles F. 1117a Filbert

Fest, Oscar L., 1616 Turk

Grabach, Charles, 631 O’Farrell

Porter, W. T., 507 Mason

Rose, Charles F., 1117 Filbert

Sheppard, Arthur F., 676 Hayes

Williams, Edward S. 1281 O’Farrell

By 1910, Paton was listed in the San Diego Directory as a scenic artist at the Garrick Theatre, 1614 Front Street. The Federal Census confirmed Patron’s employment as a scenic artist, working on his “Own Account.” At the time, Paton was living as a boarder at 1614 Front in San Diego. He was boarding with a 40-yrs.-old widow, Maude M. Kelly, and her two teenage sons,  John R. Kelly (son, 18), and James H. Kelly (son, 16).  The census report listed Paton’s date of immigration as 1890, and that he was a naturalized citizen.

During the fall of 1910, Paton sold his Los Angeles property at the northwest corner of W 10^th and Fedora Street. In the real estate transaction listing, he again listed his business residence as the Garrick Theatre in San Diego. Between 1911 and 1912, Paton also sold several of his San Francisco properties. This was likely to finance a new business venture with stage carpenter Thomas B. Wylie.  The two established Paton & Wylie scenic studio in 1911. The 1911 San Diego Directory listed that the Paton & Wylie (AM Paton and TB Wylie) was located at 203 5^th. In 1912, Wylie was listed as the stage carpenter for the Isis Theatre in San Diego, living at 1329 8^th.

This partnership did not last for long. In 1912 Paton was listed solely as a scenic artist at the San Diego’s Savoy Theatre, living at 1431 First. He continued to reside at the same addressfor the next few years. By 1913, Paton partnered with fellow scenic artist, Frederick Rickeman (1874-1951) to form Paton & Rickeman. At the time, Rickeman was living in the Point Loma neighborhood of San Diego. In 1914, Paton & Rickeman, listing their studio as the Empress Theatre. Rickeman was listed in the 1915 San Diego Directory as living at 715 10^th. By 1916, Paton & Rickeman listed Spreckels Theatre as their new business address. Interestingly, Spreckels Theatre was constructed in 1912 to commemorate the opening of the Panama Canal.

Rickeman was the son of German immigrants who had moved to California by 1911. Born in Phillipsburg, New Jersey on July 29, 1874, Rickeman worked as a scenic artist all over the country before heading west. His US Passport applications from 1890 and 1900 describe him as 5’-8” tall, with blond hair, blue eyes, Roman nose, round chin, oval face, fair complexion, and a moustache.  A trip to France in 1903 resulted in marriage to his first wife Gabrielle. The two returned to the United States were Rickeman worked in New York as a decorator by 1905. In 1918, Rickeman married in second wife, Eva Minosa Forneri (b. 1890 in Minneapolis, Minnesota). The Rickeman’s celebrated the birth of two sons, David E. (b.1919, Indiana) and Donald J. (b. 1929, San Diego). After ending his partnership with Paton, Rickeman moved to LA where he continued to work as a scenic artist. At the time of his passing in 1951, Rickeman’s obituary identified him as a “film studio scenic artist.”

Paton remained in San Diego for the remainder of his life, continuing to work as a scenic artist on various projects. Unfortunately, Paton’s projects seem to dwindle in the post WWI years. The last mention of his work that I have located to date is from 1924; this is just one year before his passing.  On Feb, 22, 1924, the “Weekly Times-Advocate” announced that Paton was one of two scenic artists working on the Escondido Fruit exhibit for San Diego County at the National Orange Show in San Bernardino, California. The article reported, “A. M. Paton and E. E. Knight, San Diego artists, were put in charge of the construction, and the exhibit was built there and taken in sections to San Bernardino, where the finishing touches were applied by Mr. McLean, Mr. Knight, and M. E. Salsberry, horticultural inspector at Escondido, who had charge of the mechanical end. C. E. Bell, assistant manager of the San Diego-California club, is now at the orange show, distributing San Diego literature and ‘selling’ the city and county to interested inquirers” (page 2).

Paton died the following spring on April 28, 1925. I have yet to locate any obituary or gravestone.

To be continued…