Month: March 2023

Copyright © 2023 by Wendy Waszut-Barrett

On November 30, 2022, I received a FB message from Robert Van Dillen, a St. Louis-based scenic artist. He asked if I would consider being guest speaker for an upcoming scenic art event in St. Louis, tentatively scheduled for the beginning of 2023. Van Dillen explained that there was a group of local scenic artists who wanted to see the St. Louis Scottish Rite scenery collection before the building was sold. Unfortunately, the tentative date coincided with my trip to the Galveston Scottish Rite. We looked at a couple of possibilities, and then scheduled the event to coincide with my March trip to USITT.

My last visit to the St. Louis Scottish Rite theatre also coincided with USITT in 2017. This is a remarkable scenery collection delivered by Toomey & Volland, of St. Louis. I spent much of the conference documenting the scenery, stage machinery, and building.

Just prior to the conference, I documented the gridiron with Rick Boychuk and Richard Nix.

For the remainder of my stay in 2017, I painstakingly photographed one drop after another, trying to capture as many painted details as possible. I am afraid that I spent very little time at the conference that year. In hindsight, however, it was a good thing, as I may never have the time again. Here is one of the posts about my 2017 visit to the St. Louis Scottish Rite: https://drypigment.net/2017/05/17/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-for-the-minnesota-masonic-heritage-center-part-88/

On this trip, I arrived at the St. Louis Scottish Rite by 9AM on Sunday morning, March 19, 2023. I was accompanied by my close friend and colleague, Jenny Knott. Alessia Carpoca, Mike Monsos, and Martha (University of Montana – Missoula) soon joined us, as they had an early flight to catch; one that prevented them from staying for the entire presentation. From 9-10:30 a.m., we shifted furniture, set up the power point, and double checked the lines. I wanted to make sure that everything was in working order for my presentation. This also provided Mike, Alessia, and Martha, with the opportunity to see some of the drops before their early departure. I am very grateful to Mike for handling the operating lines during this time!

At 10:30 a.m., I gave a quick power-point presentation to provide some context, placing what we were going to see within the context of American scenic art and theatre history. By “quick” I mean thirty minutes! Then we brought in one scene after another for the next three hours. By 2 p.m. I called it quits, due my impending flight and grumbling stomach.  We grabbed a quick bit to eat and then I was on my way to the airport.

The St. Louis Scottish Rite Theatre is a sight to behold. It is a three-thousand-seat auditorium that boasts a 90’-0” wide proscenium opening.

The size and scope of this Masonic scenery collection is almost unparalleled, with the McAlester Scottish Rite from 1929 being a major contender. There are 147 line sets, with stage machinery and scenery produced by the Toomey & Volland studio in 1923. There are a few drops that pre-date the building, a couple more that were delivered in later years.

Sadly, this may be the last time I get to visit and examine this remarkable scenery collection. Like many massive Masonic buildings, it is up for sale. Rumors of a sale had already begun in 2017. This is not surprising, considering a series of obstacles faced by many fraternal organizations; challenges that range from declining membership and insufficient funds to high utility bills and a long-term practice of deferred maintenance. My only hope is that when the building is sold, the scenery is somehow preserved for future generations. This collection really needs to be professionally documented, complete with lights and props, before it disappears.

Many thanks to Rob for organizing this event. I also want to thank his wonderful colleagues who so warmly welcomed me to St. Louis. I am grateful that we were able to share this experience together.

Here are a few pictures from our day at the St. Louis Scottish Rite.

Copyright © 2023 by Wendy Waszut-Barrett

In January, I was contacted by Diane Nagy, President of the Kimmswick Historical Society. For geographical context, Kimmswick, Missouri, is a very small river town about 26 miles south of St. Louis. The Kimmswick Historical Society had recently acquired a large painting by J. U. Tschudi. Dated 1914, the artist titled the painting, “Early Days on the Mississippi River.” While searching for information about the artist, Nagy stumbled across my post about Tschudi at www.drypigment.net. Tschudi represented the Kansas City Scenic Co. in 1887. This firm was affiliated with the Sosman & Landis Scene Painting Studio in Chicago. The two firms shared projects and artists over the decades, remaining affiliates until the 1920s.

My trip to St. Louis for the United States Institute of Theatre Technology conference this month provided me with an opportunity to examine the Tschudi painting and meet Kimmswick Historical Society members. On March 18, I journeyed south, accompanied by my close friend and colleague, Jenny Knott. Diane Nagy and Nadine Garland provided shuttle service and conversation for the day. We spent most of the afternoon chatting about historical artifacts and the intriguing history of Kimmswick.

Our first stop was to see the oil painting, currently stored at the studio of Irek T. Szelag. Szelag is a Polish immigrant nearing retirement. In fact, this will be his last commission. We were joined at Szelag’s studio by a few other Historical Society members; they were curious to about hear about my knowledge of Tschudi and his work. The decision to preserve Tschudi’s work was hotly contested by half of the ten-member Kimmswick Historical Society Board of Directors, necessitating a tie-breaking vote by the president. Not everyone was keen to spend a large amount of money on this heavily damaged painting.

The Kimmswick Historical Society is a small non-profit organization that does not accept State or Federal aid. Their operating budget is obtained through donations and the sale of apple butter. The funding of every Historical Society project is translated into the sale of “jars” and “cars.”  “Jars” refers to the sale of apple butter and “cars” refers to the sale of parking spots when thousands of people descend upon this small town of 146 residents for the Apple Butter Festival https://gokimmswick.com/apple-butter-festival-kimmswick/ . Each year, the Historical Society sells approximately 6000 jars of apple butter. Of this amount, 500 jars are still made on site, using a massive copper kettle over an open fire. By the way, each jar of apple butter sells for $6; a fabulous deal, considering the extensive amount of time is takes to prep, cook and can the apples.

Back to Tschudi’s artwork…

When I initially examined pictures of Tschudi’s painting, I was struck by his inclusion of a title and painted surround. It looked more like circus banner than an oil painting intended for a residential wall.  In fact, it reminded me of early twentieth-century state displays at world fairs or other industrial expositions. Upon close inspection, I notice that the edges of the canvas had been hemmed, like early marketing banners that were intended to advertise a public entertainment. I am positive that this artwork was created to be tacked onto a wall, the side of a building, or fence; advertising some public event or spectacle.

After leaving Szelag’s studio, we spent the remainder of the afternoon touring the Kimmswick Historical Society and enjoying a fabulous lunch at the oldest building in town. Designated, “The Old House” this structure was originally built in 1770. The reason for selecting tis particular eating establishment was that Tschudi’s painting once hung in a front room, near a fire place; a fireplace that never vented properly, hence the discoloration of the painting over time. 

In addition to lunch, our hosts gifted us Kimmswick Historical Society cookbooks upon our departure. It is one of the more interesting compilations of Midwest and Southern recipes that I have come across in recent year. Yes, the apple butter recipe is included too! Overall, I had a delightful time learning about Kimmswick and its history.

While sitting in the St. Louis airport on March 19, I began to re-examine the life and career of J. U. Tschudi, searching for possible clues that might lead to the origin of his painting.  This quest continued upon my return home. I arrived sick and began a week-long quarantine in the basement, desperately trying to keep my germs to myself. My son’s High School Orchestra  was spending the first part of Spring Break in New York City. I really didn’t want him to catch this bug.  Fortunately, my self-imposed quarantine provided me with an opportunity to re-examine Tschudi’s life and career. My previous post about Tschudi from 2020 was quite brief, intended as only a side story to my history about the Kansas City Scenic Company. Tschudi was associated with the Kansas City Scenic Co., working alongside B. F. Dunn and C. A. Oldham.

Here is my expanded tale about this fascinating artist and painting.

Like many nineteenth-century American immigrants, the story of Tschudi begins in Europe and ends in the Midwest. His tale could be called “From Switzerland to St. Louis,” was he passed away at 728 South Second Street, only a short walk from the Convention Center that hosted USITT. Both Tschudi and his son worked as scenic artists for the Kansas City Scenic Art Co. during the early Twentieth Century. Combined, they are responsible for hundreds of stage settings delivered throughout the United States between 1880 and 1940.

John Ulrich Tschudi was born on March 22, 1850, in Switzerland. Named after his father, he was the son of Johann Ulrich Tschudy (1822-1886) and Anna Margaretha Egli (1821-). In 1856, the Tschudi family emigrated to the United States with his family. They departed a ship named the Ocean Steed on March 22, 1856 – Tschudy’s 6^th birthday. Passengers included John Ulrich Tschudy (34 yrs.), wife Ann Mary (35 yrs.), and children Cath (10 yrs.), Valentin (8 yrs.), Margaretha (7 yrs.), John M. (6 yrs.), Walter (4 yrs.), Tobias (11 mths.). Ann Mary’s father, W. Egli (59 yrs.) also sailed on the same ship. They arrived in the US on July 30, 1856, and soon settled in Burlington, Iowa. Two other Tschudy children were born after moving to Iowa- Minnie (b. 1856) and Lily (b. 1859).

I am going to take a moment to discuss historical records and reported names for John Ulrich Tschudi Sr. and John Ulrich Tschudi Jr.  First of all, the family used both Tschudy and Tschudi as their surname in city directories, public records, and newspaper articles. This shift primarily occurred in the 1870s. For the purpose of this post, I will use both.

Secondly, the “U” for Ulrich was often misrepresented as an M, W, A, or even H. This is understandable when you begin to examine how a handwritten cursive capital U can look like other letters, especially in passenger lists and census reports.

To further muddy the waters, there was another Swiss emigrant named John Ulrich Tschudi/Tschudy (1828-1901) who settled in Minnesota. He is a completely different individual who has greatly confused many family genealogists.  Minnesota Tschudi lived his life as a farmer, while the main characters of my story – John Ulrich Tschudi Sr. (1822-1886) and John Ulrich Tschudi Jr. (1850-1921) – who worked as a German Presbyterian Church pastor and scenic artist, respectively.  With this little bit of information, here is the tale of scenic artist J. U. Tschudi.

In later years, Tschudi Jr. recounted that the Tschudi family only stayed in Burlington for two years before relocating to Memphis, Tennessee, where “he learned his business under the tutelage of his father, who was also an artist.” I can neither confirm nor disprove this statement, as evaded public record until the onset of the Civil War.

By 1861, Tschudi Sr. enlisted in the Union Army. Tschudi Sr. is listed in the “US Adjutant General Military Records, 1631-1976,” available at ancestry.com. The 1864-1864 report lists “John Ulrich Tschudy” of Burlington, Iowa, as a Private in Co. G. of the 57th Illinois Infantry. At the age of 38, he entered into military service on August 26, 1861. Co. G. rendezvoused in Chicago and was quartered at Camp Douglas. Tschudi Jr. was too young to enlist; the official enlistment age was 18 yrs. old. Again, to make things even more confusing, Minnesota Tschudi also fought in the Civil War (Minnesota Infantry, 2nd Regiment).

By 1867, the Tschudy family was living in Dubuque, Iowa. Between 1867 and 1869, Tschudi Sr. is listed as a student at the German Seminary. After completing his studies in Dubuque, In 1867, Tschudi Jr. is listed as a student.  It is in Dubuque that Tschudi Jr. meets his future wife, Marguerite Merkes (1850-1931). Merkes is exactly the same age as, Tschudi Jr., was born on March 23, 1850, in Diekirch Luxembourg. Merkes was the daughter of Jean Pierre Merckes/John Peter Merkes (1811-1861) and Clara L. Abend/Abendt (1817-1895). The Merkes family emigrated from Luxembourg to Dubuque, Iowa in 1859, with John Peter Merkes passing in 1864. His widow, Clara Abendt Merkes, remarried in 1864. Her second husband was Michael Fohrman (1811-1894), also an emigrant from Luxembourg.

In 1867, Clara’s 17-yrs. old daughter, Marguerite Merkes, becomes pregnant. As an unwed mother, Marguerite is removed to Chicago where she waits for the impending arrival of her first born. On August 1, 1868, Marguerite gives birth to a son whom she names John, after the baby’s father John Ulrich Tschudi, Jr. It is important to note that the actual birth year of baby John’s birthdate vacillates over the years, ranging from 1867-1869.

Two things happen at this point; decisions that were very characteristic when a child was born out of wedlock. First, the baby is born, but then raised by a grandparent. In this case, baby John returned to Dubuque where he was raised by his maternal grandmother, Clara Abendt Merkes Forman, and his, maternal step-grandfather, Michael Fohrman. John Merkes name instantly becomes John J. Fohrman, and he is clearly listed as the son of Michael and Clara Fohrman. It is only in Michael Fohrman’s will that John J. Fohrman is listed as an “adopted son.” Despite the eventual marriage of John’s parents, Marguerite Merkes and John Ulrich Tschudi Jr., their son is never returned to their care.

In the meantime, Tschudi Sr. completes his training at the Germany Seminary in Dubuque and answers his first call in Platteville, Wisconsin (1870),where he relocates with his wife and four daughters (Margaretha, Lucy, Minnie, and Lillie). Tschudi Jr. and Marguerite remain in Iowa. In 1869, Tschudi Jr.’s occupation was listed as “cigar maker” in the Dubuque Directory; this was when he was living with his father at “Couler av bet Nineteenth and Twentieth.”

By 1872, Tschudi Sr, answers a call to ministry in Memphis, Tennessee. During this entire time, Rev. J. U. Tschudi is associated with the German Presbyterian Church.  He is repeatedly listed in the newspapers. During this period, Memphis struggles with yellow fever, losing thousands of its citizens to five major outbreaks. On Oct 15, 1873, “The Central Presbyterian” of Richmond, VA, reported, “Another Bereavement – Rev. J. A. Tschudy, pastor of the German Presbyterian church in Memphis, lost his son, Walter, Oct. 6th, in his 23rd year of his age, of yellow fever” (page 2). This was part of the fourth Yellow fever epidemic in Memphis, where 2500 people passed away between Aug and Oct of that year. At the time it constituted the largest yellow fever outbreak in any inland city. A few months later, the Tschudi family is able to celebrate the marriage of Margaretha Tschudi to minister, Henry A. Grentzenberg. I have yet to locate any mention of Tschudi J. in Memphis during this time. Rev. J. U. Tschudi is last mentioned in Memphis newspapers during 1878. At the time, he was associated with the First German Presbyterian Church, located on the corner of Venice and DeSoto streets. I have yet to uncover any information that links Tschudi Jr. to Memphis. Although he likely traveled throughout the country painting scenery, he married and celebrated the birth of two children in Iowa between 1871 and 1875.

In later years, Tschudi Jr. suggested an alternative story, explaining that from 1868 to 1873 he studied art in Europe. This is highly suspect, especially since he married Marguerite Merkes in Dubuque, Iowa in October 1871 and began raising a family in Iowa by 1873. Daughter Lucy was born in the spring of 1873, with her younger sister, Minnie Lillian, arriving in the spring of 1875. Later newspaper articles about Tschudi Jr. purported, “After his school days he studied with his father and assisted him with his work and soon developed such an artistic taste in landscape painting that the father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ’I returned to America and took a fancy to large work and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad.” I have yet to locate any information that suggests his father ever worked as an artist, but you never know.

Here is what I have tracked down about Tschudi Jr.’s scenic art career; a tale compiled from city directories, historical records, and newspaper headlines.

By the late 1870s, Tschudi begins working with Cincinnati fresco artist, William Theodore Blomberg (1829-1909).  Tschudi Jr. has several relations in Cincinnati, including his older sister Margaretha (Margaretha Tschudy Grentzenberg). In 1880, Tschudi and Blomberg head to Kansas, where they work as itinerant artists throughout the region that year. Blomberg returns to Cincinnati in 1881, with Tschudi remaining in Kansas.

The first line of Tschudi’s biographical listing entry in “Cutler’s History of Kansas” is “JOHN U. TSCHUDI, fresco and scenic artist, came to Kansas in July 1880.”  He arrived a bit earlier than that as Tschudi is mentioned in a Kansas newspaper advertisement that June. On June 16, 1880, the “Augusta Republican” of Augusta, Kansas, reported, “Messrs. Tschudi & Blomberg, painters and frescoers are on hand according to promise and ready to do any kind of fancy work in their line at reasonable rates. Call and leave your orders” (page 3).

Tschudi initially settled in Wichita, before relocating to Emporia. His initial tie to Wichita was to the newly constructed opera house; he and Blomberg were credited with the scenery, as well as their ties to Cincinnati. They were mentioned in letter published in the “McPherson Republican” on August 12, 1880:

“Elk Falls Letter.

Elk Falls, August 9^th, 1880.

Editors Republican:- Since leaving McPherson two weeks ago we have taken in the counties of Marion, Butler, Sedgewick, Cowley, Sumner, and now we are now in Elk. From Florence we ran down the Eldorado Branch to Eldorado, the county seat of Butler, and from thence to Augusta by stage. In this town, situated on the St. Louis & San Fransico line to Wichita, we were somewhat surprised to find a regular opera hall, and our surprise was somewhat increased in visiting the hall, to find everything first class. In the construction of the stage, etc., Mr. Israel Zimmerman, the stage carpenter proved himself to be a master of his profession. Messrs. Tschudi & Blomburg, the scenic artists, whose headquarters are at Cincinnati, Ohio, were completing the advertising drop curtain when we were there. They will have one forest scene, six wings, one street scene, one rustic kitchen scene, four wings; one garden and landscape scene, two wings; one prison scene, four wings, and one scenic drop curtain. The stage is arched and the arch is frescoed. The work when done will give them an opera hall to be envied by many towns double their population…” (page 2).

On October 16, 1880, the “Cowley County Monitor” of Winfield, Kansas, reported, Messrs. Tschudi & Blomberg, the fresco artists, are at work on M. L. Robinson’s residence. They also have engagements with J. C. Fuller and M. L. Read. Our citizens who want fresco work cannot do better than secure these gentlemen” (page 3).

On Nov. 25, “The Sumner County Press” of Wellington, Kansas, reported, “Messrs. Tschudi & Blomberg, the artists who did scene painting and fresco work for the opera hall here, also did some fresco paintings on the dwellings of M. L. Reed, S. H. Myton and M. L. Robinson. They have now gone to Wellington to fresco the hall of the PRESS building. On their return they will commence work on Mr. Fulton’s fine dwelling. If the Presbyterians and the Methodists would have their churches frescoed in first class style it would be worth bragging about. Tschudi and Blomberg have done the best work in the State.- Winfield Monitor”(page 3).

Despite their success, Blimberg returned to Cincinnati in 1881, with Tschudi settling in Wichita. It remains unclear as to when Tschudi’s family joined him in Kansas. However, in 1881, Tschudi was living in Wichita. On Oct. 31, 1881, “The Daily Leader” of Wichita reported, “John W. Tschudy, the artist of Wichita, went to Emporia yesterday to paint the scenery in the new Opera House in that town” (page 4). A month later, his ties to Cincinnati were mentioned in an Emporia newspaper. On Nov. 29, 1881, the “Emporia Daily News” reported, “J. W. Tschudi, a scenic artist of much merit from Cincinnati, Ohio, is superintending the painting of the scenery for the Whitley Opera House” (page 4).

Tschudi soon partnered with stage carpenter, J. W. Morris, to deliver scenery and stage machinery to the Whitley Opera House. On Dec. 1, 1881, “The Emporia Ledger” reported “Messrs. John W. Tschudi, scenic painter, and J. W. Morris, stage carpenter, the gentlemen who have the contract to furnish and fit the scenery and stage trappings of the Whitley Opera House, commenced work yesterday. They will put in a complete set of scenes and all the latest improvements in stage equipment. They say they find everything about the house in excellent shape for their work, and that they will be able to compete their contract in six or seven weeks. Their work will be so well advanced by the first of January that the house may be used at that time, of desired” (page 3). That same day, the “Emporia Weekly News” reported, “J. W. Tschudi, a scenic artist of much merit from Cincinnati, Ohio, is superintending the painting of the scenery for the Whitley opera house” (page 3). Tschudi was repeatedly mentioned in Emporia newspapers.

Tschudi continued to work in Emporia. On Jan. 26, 1882, “The Emporia Weekly News” reported that Tschudi was painting scenery for Ed White’s touring production of ‘Fantanitza,’ scheduled to visit Emporia in March, detailing, “He left an order with Mr. Tschudi, the scenic artist who has been employed for some weeks past at the Whitely opera house, for some scenery to be used in bringing out the grand illumination tableau in ‘Fantanitza” The article also mentioned Tschudi’s current work at the Whitley reporting, “There is also a water main behind the drop curtain on the stage with sufficient hose attached to reach over the flys. The scenery has been done by that skillful and well-known artist, John Tcheudy of Switzerland, and is a marvel of beauty…The scenery is sized with fireproof sizing and cannot be kindled into a blaze…” Tschudi’s work at the Whitley certainly boosted his career. On Feb 2. 1882, “The Emporia Weekly News” reported “The stage, one of the best in the west, is 30-x60 feet and is furnished with all the accessories of a metropolitan theatre. These include a variety of excellent scenery suitable for the preparation of all classes of drama; complete and secured appliances for shifting lights, and an exquisite drop curtain representing a charming scene on the Rhine, painted by Mr. Tshudi, one of the most talented scenic artists in the country” (page 3).  

Tschudi’s success in Emporia soon prompted him to relocate there from Wichita. Initially, he set up a studio at the Whitley Opera House. On March 22 and 23, 1882, “The Evening News” in Emporia announced, “You will find John W. Tschudi at the Whitley opera house ready to do all kinds of house painting, kalsomining, frescoe decorating, plain and fancy sign writing, etc. First-class work at reasonable rates, guaranteed” (page 4). He continued to place one advertisement after another in local papers, securing a variety of local projects that ranged from private residences to commercial signs. On April 8, 1882, the “Emporia Daily News” reported, “Two of the handsomest signs in town were placed in position this morning at the entrance of Robert Jeff’s tobacco ad cigar emporium on Commercial street. They were painted by Mr. Tschudi, the scenic artist at the Whitley opera house and cannot fail to attract attention” (page 4). On April 20, 1882, The Weekly News-Democrat” reported, “A very handsome altar recently completed by the Roberts Brothers has been placed in the upper room of the Franciscan convent, which is used at present as a place of worship for the congregation. The painting, which is beautiful and highly artistic, was done by John Tschudi, scenic artist at the Whitley opera house.” (page 4).

Tschudi landed so many projects at this time, that it became necessary to hire an assistant. On April 15, 1882, “The Evening News” (page 4) reported, “W. S. Walborn, a sign painter, lately of Harrisburg, Pennsylvania, is assisting Mr. Tschudi, the scenic artist at the Whitely Opera House” (page 3). This announcement was also published on April 20, 1882, in “The Emporia Weekly News.” In later years, both Tschudi and Walborn worked as scenic artists as the Kansas City Scenic Co.

Tschudi’s work was drawing other prospective theatre proprietors to Wichita to see his work. . On April 22, 1882, and on April 27, 1882, “The Emporia Weekly News” reported, “Friday evening we had a pleasant call from Mr. Samuel Smith and a Mr. A. W. Barker, both of Ottawa, Kansas. These gentlemen were in the city for the purpose of viewing the Whitley Opera house, more particularly the stage appointments and scenery. Last evening the opera house was lighted, and they were shown through it, and expressed themselves as much pleased with the result of their inspection. The new opera house in Ottawa is about completed, and it was with a view to gaining some points as to scenery, etc., that these gentlemen visited Emporia. They were greatly pleased with the Whitley opera house stage scenery, and it is not unlikely that Mr. Tschudi, the artist, will secure a contract of the same at Ottawa” (page 3).

All the while, Tschudi continued to run a series of advertisements in local newspapers. Here are a few of note:

 On July 27, 1882, the “Emporia Daily News” announced, “John Tschudi, the Whitley opera house scenic artist, sent a number of ornamental signs to Colorado yesterday.”

On July 29, 1882, Tschudi’s advertisement in the “Emporia Daily News” stated, “Signs! Signs! —In Japanese, East Lake, Queen Anne, and Oriental styles by Tschudi, the artist. Leave orders at Moore’s drug store.”

By summer, Tschudi had customers placing orders at Moore’s Drug Store. An advertisement in the “Emporia Daily News” on July 29, 1882, announced “Let the work speak for itself,” is my motto, Tschudi, Artist, Fresco Decorator, Ornamental Painter, and Sign Writer. Leave orders at Moore’s Drug Store” and “Why not have a neat sign when it costs you no more than a poor one? Tschudi, the artist, can guarantee you work and figures that cannot be beat. Leave orders at Moore’s Drug Store” (page 4). Tschudi’s ads ran continuously until October 1882.

On Aug. 15, 1882, and the “Emporia Daily News” reported, “Why not have a neat sign when it costs you no more than a poor one? Tschudi, the artist, can guarantee you work and figures that cannot be beat. Leave orders at Moore’s drug store” (page 4).

His association with Moore’s drug store, meant that Tschudi needed someone to take orders, while he traveled for work. This ensured a constant stream of income when he returned from out-of-town projects. On Oct 18, 1882, “The Evening News” reported, “John Tschudi, the scenic artist, returned to-day from Wellington, where he has been painting the scenery for the new opera house at that place” (page 1). Despite his absences, Tschudi would advertise, “Remember that Tschudi, the artist, is still here, and will do you the highest and latest artistic style, and at bottom figures. Leave orders at Moore’s drug store” (Emporia Daily News, Oct 18, 1882, page 4). On Dec 21, 1882, “The Emporia Weekly News” reported, “Tschudi has made a large transparent street sign which will be placed in position soon and bear the letters ‘Ice cream and oysters.’ The same artist prepared the beautiful parlor screen upon whose surface are painted six different attractive designs in oil” (page 3).

By 1883, Tschudi was included in the Emporia Directory. Interestingly, his listing suggests pervious work in Tennessee, and not Wichita or Cincinnati: “Tschudi, John U., fr Tenn., ornamental frescoe scenic painting, and sign writer, shop 197 Commercial st, res same.” His wife was also listed in the directory at the same address. Marguerite began going by Margaret.

Painting projects for 1883 included G. T. Carlton’s Billiard Hall and Fithian’s Ice wagon in Emporia. On Feb 20, 1883, “The Evening News” reported, “Mr. G. T. Carlton to-day opened to the public his handsome new billiard parlor in the Soden building on Fifth Avenue. Tschudi. The artist has been busy for several weeks past frescoing the walls of the room and the result of his skillful hand is seen in the excellent effects he has produced…” (page 4).

On April 19, 1883, the “Emporia Weekly News” reported “A Thing of Beauty. Fithian’s ice wagon made its first trip for the season Thursday, and it attracted as much attention as a circus chariot as it rolled along the street resplendent in brilliant colors and decorations by the brush of Tschudi, the scenic artist. The arctic sketches on the sides are excellent works of art, and it will be refreshing to even look at them when the mercury begins to crawl up into the sky parlor of thermometer” (page 1).

However, he continued to paint stage scenery for a variety of venues throughout the region. On March 22, 1883, “The Emporia Weekly News” reported, “John Tschudi has received an order to paint a set of scenes for the Amateur Dramatic club of Newton” (page 4).

On May 17, 1883, “The Weekly News-Democrat” reported on the dedication of the Welsh Congregational Church on Merchants Street” (page 1). Of the new auditorium, the article reported that sections of ornamental plaster work were “artistically frescoed by Tschudi, the scenic artist, whose happy combination of complimentary colors and agreeable shades proclaim him an artist of superior merit…”

On October 19, 1883, the “Iola Register” reported, “Mr. J. N. Tschudi has been at work in the opera house all week and has made quite a change there. In addition to the business cards which adorn the front of the stage, Mr. Tschudi has been painting a new and elegant drop curtains which he expects to have ready by Saturday night. He has also made new and larger wings, to correspond with each scene, and before he leaves will paint the woodwork on the front of the stage. He expects to finish his work sometime next week, and the opera house will certainly ne much handsomer for his having been there” (page 5).

On Dec. 1, 1883, “The Humboldt Union” of Humboldt, Kansas, credited Tschudi with delivering scenery to the Germania Hall. The article reported, “The scenery [described in detail] and the arch of the stage is handsomely decorated. The artist, John W. Tschudi, of Kansas City, has performed his work in first class style” (page 3).

As in the past, Tschudi was not working alone, nor was he simply hiring local amateurs. A variety of skilled personalities were working for Tschudi in Emporia, including Charles Stebbins. On May 2, 1883, “Emporia Daily News” and “Evening News” reported, “Charles Stebbins, who is employed by Tschudi, the artist and painter, has returned from Hartford, Michigan, where he recently fell heir to a legacy of $1,000” (page 1).

Tschudi began to secure an abundance of scenic work for stages throughout Kansas. On Jan 25, 1884, “The Weekly Kansas” of Independence reported, “Of all the improvements made during the past year in Independence there are none in which so much interest is felt as in the Opera House block erected by Mr. Payne….The stage is large and commodious, it being 24×66 feet, with four dressing rooms, and the footlights are fixed with a lever so they can be shut off or put in place at will. It will be supplied with good scenery. Mr. John Tschudi. The artist, is now here for that purpose. He comes highly recommended as a scenic painter. There will be thirteen sets of scenes and fifteen set scenes” (page 4). While working on a theater project, however, Tschudi would land a variety of other painting projects. Such was the case in Chanute, Kansas. On Aug. 28, 1884, the “Chanute Blade” of Chanute, Kansas reported, “The Chanute Bank is being neatly frescoed by John U. Tschudi, and will be one of the nicest finished rooms in the city when completed” (page 3).

Tschudi’s comings and goings were announced in a variety of small-town newspapers, making it easy to trace his travels. For example, On Oct. 16, 1884, “The Chanute Blade” reported, “John U. Tschudi went to Kansas City last Tuesday, to paint some new scenery and drop curtains at Kansas City. He painted two very beautiful scenes for Williams’ Hall in this city, last week. He will return here in about two weeks to paint the scenes and drop curtain for the new opera house now being erected here” (page 3). Tschudi was also working on the new stage setting for an opera house in Red Cloud, Nebraska. On October 16, 1885, the “Webster County Argus” of Red Cloud reported, “The proprietors of the opera house expect to have the same opened on Monday, the 26^th inst. A good dramatic company has been engaged for the occasion. The house will be seated with six hundred chairs. Prof. Tschudi, the scenic artist, with a force of carpenters in making and placing the scenery, which will consist of eight complete settings, besides a handsome drop curtain.”

Sometime between the fall of 1885 and 1886, Tschudi moved to Kansas City, By 1887, he was associated with the Kansas City Scenic Co. The firm’s offices were located in the Gillis Opera House.

This is where it gets interesting, and a little confusing. Sosman & Landis Scenic Studio outfitted the Gillis, with L. L. Graham and W. P. Davis working as the scenic artists on the project, while representing the firm. Sosman & Landis. Sosman & Landis opened a branch office in Kansas City in 1884; it was headed by L. L. Graham. At the same time, Graham and Davis also operated a studio, known as Graham & Davis, frequently working as subcontractors for Sosman & Landis. Sosman & Landis’ work for the Gillis was well-known and mentioned in a variety of newspapers. For example, on April 21, 1887, “The Times” of Clay Center, Kansas, reported that Sosman & Landis had “fitted the Gillis Opera House, Kansas City, and the Grand at Topeka.” Graham’s Studio in Kansas City, the Kansas City Scenic Co. and Sosman & Landis’ scenic studio were not directly competing in the region, they were divvying up work and sharing artists. Even in 1888, Dunn was listed as not only a scenic artist at Graham’s Studio, but also on staff at the Kansas City Scenic Studio. By 1890, an new iteration of the Kansas City Scenic Co. opened, solely under the management of Dunn and J. C. Bronaugh. On July 13, 1891, the Kansas Patron commented that Bronaugh was “the traveling member of the Kansas City Scenic Co.” Bronaugh secured the contracts and Dunn painted the scenery. This new iteration of the firm still maintained a close business alliance with the Sosman & Landis until the 1920s.

In 1887, Kansas City Scenic Co. advertisements list J. U. Tschudi, B. F. Dunn, C. A. Oldham and C. J. Lorella. On March 22, 1887, the “Wichita Star” reported “A reporter was shown the number of samples from scenic-artist work from the brush of Kansas City Scenic-Artist company, in which company figures, as an artist, Mr. J. W. Tschudi, formerly of the city. The work is artistic and ranges throughout the entire term of scenic work. Landscapes, rocky passes, woods, streets, palaces, parlors, chambers, kitchens, hovels – in fact every known term of scenic effects were painted in the highest style of art. The JOURNAL congratulates Mr. Tschudi on the excellent work of the firm in which his brush is prominent” (page 4).

On June 16, 1887, “The Little River Monitor” of Little River, Kansas, reported, “The carpenters’ work on the new opera hall is going on at a lively rate, Canfield & Co. are doing the work in good shape. Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job.” On June 18, 1887, “The Little River Monitor” reported, “Messrs. Tschudi Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job. The mammoth drop curtain is a beauty. It is ornamented with the business cards of our merchants and others and will be first class in every particular.” 

On May 20, 1887, “The Lyons Daily Democrat” in Lyons, Kansas, reported, “Mess. Tschudi, Dunn, and Oldham, scenic artists from Kansas City, are preparing a very fine new drop curtain for Tom’s Butler’s Opera House. Tom very properly thinks the public would be pleased to have a brand new curtain to gaze at between acts. The gentlemen represent a firm of scenic artists who are furnishing many of the finest Opera Houses in Kansas with stage settings, and our citizens must admit, when their work is first shown, they understand their business thoroughly and are first-class artists in every respect. They will furnish scenery for the fine new opera house at Wichita, and when Lyon’s new Opera House looms up, they will probably again have an opportunity to display their artistic powers” (page 3).

On October 22, 1887, “The Caldwell News” of Caldwell, Kansas, reported, “Judge J. G. Woods is now moving into his new building this week. The lower story is occupied by the Woods bank, This room is elegantly fitted up in solid walnut. The south room is occupied by C. E. Flaudro’s clothing house. The opera house occupies the second story. It is the same size as the Crawford Opera House at Topeka. The stage is 50 feet wide and 25 feet deep and is furnished with fifteen complete sets of scenery including an elegant drop curtain painted by the artist John U. Tschudi…” (page 1) [reprinted on Oct 12, 1922, p 1].

On Dec. 1, 1887, “The Kingman Courier” reported, “Prof. John W. Tschudi, of Kansas City, will have completed the scenic work at Garfield Opera House by the 6^th of December. The scenes painted by this talented artist display true genius, combined with the highest-class conceptions of the true and beautiful. When completed the Garfield Opera house will surpass anything of a similar character in Kansas” (page 6).

Tschudi also painted scenery for the Garfield Opera House in Kingman, Kansas. The time he was traveling with a stage mechanic named Mr. Foreman. On Dec. 7, 1887, “The Kingman Daily Courier” reported, “Tschudi, the scenic artist, and Foreman, the stage builder of the Garfield Opera House, will be given a benefit by the amateurs of Kingman Saturday night. They are worthy gentlemen and the entertainment in their interest should be ell attended” (page 3). On

On Dec. 12, “The Kingman Daily Courier” reported “Messrs. Tschudi & Foreman desire to return their sincere thanks to the ladies and gentlemen who so kindly assisted at their benefit on Saturday evening last and thereby insured its success, And they also hope that those who by their presence graced the auditorium enjoyed a peasant evening” (page 3).

Dec. 22, 1887, “The Kingman Daily Courier” reported, “Prof. John Tschudi, artist at the Garfield Opera House, will pass the holidays with his family at Kansas City” (page 3). This indicates that Tschudi moved his family from Emporia to Kansas City when he became associated with the Kansas City Scenic Co. in 1887.

By 1888, Tschudi had left the Kansas City Scenic Co. and had established Tschudi, Loffing, & Roberts at 400 East 12th in Kansas City. His new business partners were Albert Roberts and Antoine Loffing. Tschudi’s residential address was listed as R. 1731 Walnut.  

On Feb. 1, 1888, “The Kingman Daily Courier” of Kingman, Kansas, reported, “Prof. Tschudi is, beyond all doubt, the thorough, classical scenic artist in Kansas. His fine conceptions of mountain and sea, of glen and valley, of hill and dell, when spread upon canvass by his deft hand, are gems of beauty on which the eye fondly hangs. The COURIER heartily commends Prof. Tschudi to the managers of the Greensburg Opera House.” (page 5).

The Tschudi’s relocated to Omaha, Nebraska, by 1890. Tschudi is working as the scenic artist at the Eden Musee, living at 1108 Farnam. Interestingly, John S. Tschudi, artist, also listed 1108 Farnam as his address for 1890 and 1891. This may be a double listing, or John S. is actually Tschudi Jr.’s son, John Fohrman; the baby that was born out of wedlock and raised by maternal grandparents, Clara and Michael Fohrman. By 1890, John is over 21 years old. It is very possible that he reunited with his biological father and began working as an artist. The Tschudi Family continued live in Omaha, with Tschudi’s daughters also securing employment.

Tschudi’s 1892 connection with Eden Musee also makes Indiana’s newspapers. On Jan 25, 1893, “The Indianapolis News” reported, “No Chance for an Eden Musee. For two weeks past T. U. Tschudi, a scenic artist, who has been in the museum business for some years, and Mme. L. Brouillard have been staying at the Circle Park Hotel. Together they have been looking for a suitable building in which to start Eden Musee in New York. The only building in the city that seemed available was the Speigel & Thomas building on Washington street, but Mr. Tschudi was unable to agree on the amount of security that he should give for the lease, and could not make a satisfactory arrangement with the owner” (page 2).

This particular moment signals a shift for Tschudi Jr. and his family, possibly indicating a temporary separation from his wife. His family returns to Kansas City where Tschudi rejoins them in 1897.

During the mid-1890s, Tschudi Jr. heads east, traveling throughout Indiana and Kentucky.

On Aug. 28, 1895, the “Richmond Item” of Richmond, Indiana, reported, “Beautiful Scenery. The Phillips Opera House Greatly Improved and There will be a pleasing surprise to those who attend ton-night. Manager Dobbins has not been idle this summer. He has one of the country’s finest scenic artists at work in the Phillips Opera House for several months, and to day there is completed one of the most elaborate outfits of scenery to be found in the state. Artist Tschudi’s taste in this line of work is not to be equaled, and he has painted thirteen beautiful sets of scenery for the theatre, which must be seen to be properly appreciated. Last night a display was made of new property, and the few persons who were given special invitations to be present were more than delighted. There is nothing which adds more to the enjoyment of first-class performance than appropriate scenic effects and this year the patrons of the Phillips will find that all stage settings will be elaborate. Besides this plentiful supply of new scenery Manager Dobbins has gone further. Another new drop curtain has been painted by Mr. Tschudi, and it is a rare specimen of his artistic skill. The bog curtain is rich in its coloring, and almost perfect in its execution. The central figure is a splendid reproduction of Turner’s celebrated painting of “The Harbor in Venice,” and it is a picture the eye does not tire to look upon. The stage of the Phillips, which is one of the largest in the state, has been thoroughly renovated and painted and it presents a neat and clean appearance. The entire auditorium will be re-frescoed within a few days, this portion of the work not having yet been completed. The opera house is now in better trim than ever before and the patrons who are in attendance at the opening this evening will not be long in distinguishing this fact” (page 3).

On Aug 24, 1895, “The Richmond item” reported, “Almost finished. Scenic artist Tschudi who has been in Richmond all summer will still be ‘one of us’ for a considerable time. His work of painting the Phillips opera house scenery will be finished next week and then he will begin work at the Grand. Mr. Bradley has given him the contract to paint the entire set of new scenery which will be of the finest and it is probable that he will get started on the work the last of next week” (page 1).

On Sept. 5, 1895, “The Richmond Item” reported, “The plasterers will soon be at work on the opera house. Scenic artist Tschudi has his scaffolding all arranged for painting the scenery for the Grand theatre” (page 4).

Tschudi was still in Richmond at the beginning of 1896. On Feb 26, 1896, “The Richmond Item” reported, “An Item reporter visited the room of Prof. Tschudi, the artist, this morning and took a hasty inspection of a number of his water-color paintings which are to be exhibited the remainder of the week. The collection represents about four years’ work, and some of the pictures re original while others are copies from celebrated paintings. Arranged as they will be at Stigleman’s studio, they certainly will be well worth the inspection of the people, whether they contemplate purchasing or not” (page 4).

In the same newspaper, Tschudi’s name popped up in a court case: “In ‘Squire Jessup’s court a judgement has been rendered against John U. Tschudi for $16 in favor of J. H. Dobbins. The suit was on account.” Whether this signaled a financial downturn or something else, Tschudi soon left town.

By summer, he was working in Lexington, Kentucky. On July 13, 1896, the “Lexington Herald-Leader” reported:

“Magnificent.

Will be Lexington’s Opera House this season.

Scenic artist Tschudi Now Hard at Work. How House will appear.

Everything is business and bustle at the Lexington Opera House, and when the coming theatrical season opens the citizens of Lexington will see one of the handsomest interior of a theatre in the country. Manager Scott will spare neither time or expense in refitting and refurbishing his house. The scenic artist, Mr. J. U. Tschudi, of Chicago, assisted by the old reliable John Uttinger, is already hard at work and has completed a number of handsome places. None of the old scenery will be used, but everything on the stage will be brand new. There will be sixteen new sets, all beautiful and fresh. The new drop curtain is going to be one of the very handsomest in the country, as Mr. Tschudi told a Leader reporter this morning that he was going to try his hand on this especial piece of work and make it guilt edge, so that our theatre goers can expect something beautiful. The work already completed by Mr. Tschudi is magnificent and shows him to be an artist of high rank. Redecorating the auditorium of the Opera House will be commenced at once, as the scaffold is now being erected for the frescoe painters” (page 5).

It was in Lexington, that Tschudi received what may have been the greatest publicity of his career. There were two extensive articles about Tschudi that I am sharing in their entirety. The first was published on Aug. 15, 1896, in “The Daily Leader” of Lexington, Kentucky (page 3). Again, not everything adds up.

“Mr. J. R. Tschudi who painted the New Opera House Drop Curtain.

An artist of some fame.

J. W. Tschudi, of Chicago, the famous scenic artist who has just completed the scenery and the magnificent drop curtain of out Opera House, was born in Switzerland (the land of William Tell) in 1852, and emigrated to America with his parents in 1857, and from childhood, was fond of painting and drawing. While at school he very often got punished for drawing cartoon on his slate, which kept the scholars laughing. After his school days he studied with his father and assisted him with his work and soon developed such an artistic taste in landscape painting that the father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ‘I returned to America and took a fancy to large work and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad. My father was a famous fresco artist (in relief); he studied under the old masters in France for ten years. His work can be seen in France, Italy, Switzerland and America at the present time. He died in his 69^th year in 1886 in New York.’ Mr. Tschudi is an extensive traveler and had been to all the principal parts of the world. The Leader called on him at the Opera House yesterday, and was shown a beautiful collection of sketches and paintings from all parts of the globe. The artist’s works both in oil and water color, but the last three years there has been no sale for oil paintings, and he has devoted his time entirely to water colors. He says he will give the people of Lexington an exhibition of water color paintings at one of the prominent down-town stores. Mr. Tschudi has been frequently asked why he did not change the spelling of his name, so it would be easily pronounced. He simply answers; “I have no reason to be ashamed of it, as it is famous in Swiss history, being the name of one of the oldest royal families on record, and was borne by artists, generals and men of high rank, and at the present time there are a number of recognized artists in the family. Mr. Tschudi will remain in Lexington until October painting twelve sets of scenery for the new Parkersburg W. Va., theater, which opens about the middle of that month” (page 3).

Another article published in Lexington’s “The Daily Leader” on Aug. 24, 1896, described Tschudi’s scenic art process. I am including the article in its entirety, as this is a wealth of information for future generations:

“Scenery,

And how it is painted by the Theatre Scenic Artist.

Mr. Tschudi Tells the Leader Some of its Mysteries.

Painting a drop curtain.

How the immense canvas is stretched for the work.

A scenic artist’s life a hard one at times.

Mixing paints in buckets.

Few people are acquainted with that part of theater commonly referred to a ‘back of the scenes,’ and fewer persons have a well-defined idea of how scenery for a modern playhouse is painted. A Leader man recently called upon Mr. J. U. Tschudi, who has been busily engaged in painting new scenery for the Lexington Opera House and who is now engaged in painting some for a theater soon to be opened in Parksburg, W. Va. Mr. Tschudi has remained in Lexington to do his work as the facilities here are the very best, and then he has become conveniently settled and likes Lexington. Mr. Tschudi’s drop curtain painted for the Lexington Opera House some weeks ago is certainly a thing of beauty, a masterpiece of scenic art, and has called forth expressions of extreme admiration from all who have seen it. Personally, Mr. Tschudi is a charming man to converse with, always interested in his work and ever ready and willing to impart that interest to others. To the question, ‘where were you born,’ put by the Leader man, Mr. Tschudi said, “I was born in Switzerland in 1852, but am an American artist. I came to the United States in 1857. My father was an artist in France and I, only one of eight children, am an artist. I was fond of it from childhood. When I was a boy, I sometimes got punished for drawing comic sketches on the walls, and I would neglect my lessons to draw those pictures and frequently get kept in school on that account.’

‘Tell me something, Mr. Tschudi about the scenic artist.’

‘The scenic artists,’ said he, ‘do not wear long hair and work with a palette and brushes as most people imagine. He is an ordinary looking man, pleasant in his conversation, and if you see him at work on the paint bridge, you will see him dressed in a neat suit of white overalls and jacket, surrounded by buckets, tomato cans, tin cups, etc. containing the various tints and colors and brushes, some of them as large as our whitewashers use Every large theatre, such as the one here in Lexington, which is well up to the average in modern equipment, is provided with a paint bridge and frame of enormous size. The paint bridge is built at the back wall of the stage, reaching from one fly gallery to the other, all the way from twenty to forty feet above the stage floor, according to the height of the stage, and ranges from four to six feet in width. Between the bridge and the wall there is a paint frame, reaching from one end of the bridge to the other and ranging from 20 by 30 to 40 by 60 feet. Looking at this frame you would think it impossible to move it because of its enormous size and weight, but when you hear the artist say, “Let’er down or up Charley (Charley is the artist’s helper or paint boy) you will see Charley go to the end of the bridge where there is a windlass, take hold with one hand or turn it and the frame is moved up or down as the artist wishes.

‘It may seem strange to you that this paint boy can with ease turn the crank and raise or lower the 40 by 60 feet frame which alone weighs half a ton without the scene that may be on it, also mounted as you see it when finished. However, it is very simple, this monster being hung precisely as a window sash is hung in your house. There is a counterweight attached that balances the frame, and instead of pushing it up like you would a sash, the paint boy turns the crank, and she goes up or down. So, you see, the artist stands on the stationary bridge and can paint a scene by 40 by 60 feet without having to climb up or down a scaffold as you may imagine on seeing some of the enormous scenes in large theaters in cities.

How the artist works.

‘Now, if you will follow, I’ll tell you how the artist works. Stretched on this frame here is, as you see, a canvas 24 by 30 feet, and ‘sized’ as the artist calls it. That is, ready to paint on. With this piece of charcoal tied to a stick, which, I suppose, is about five feet in length. He commences to sketch or outline a scene, which, by the way, is a puzzle to make out at first. Presently, after having mixed all of his colors in his buckets, cans, etc., you will see him apply the colors with large brushes, giving a slap and a dab of color here and there, and before you realize what he is trying to do, you will see the bright sunny sky, the distant hills, the rippling brook, the foliage of trees, and each appear and gradually grow as if by magic until there is a beautiful and finished landscape before you.

‘And all to aid the work of the players,’ suggested the Leader man.

‘Yes, indeed, without the scenic painter’s brush what would the play amount to? The scenic effects carry the principal productions of the present day, as you know.

‘Yes, it was pretty hard at times on the artist, still we had times when we were in not rushed, as some of the scenery which we called stock, such as wood scene, modern street, kitchen, prison, plain, chamber, garden and landscape could be used in some of the modern plays. Sometimes we would have it very easy for a week or two and then again it would be a case of rush.

Artist in a rush.

‘I remember one instance in particular, while getting up the scenery for the Coleen Bawn, there was a tremendous amount of all special scenery to get up. The play was to be put on Monday afternoon matinee. On Saturday night I found myself way behind with the work. The manager came to me, excited and said: ‘Mr. Tschudi, you have been with us for six years and always ready when the time came. By heaven, I am afraid you will not get through in time.’ I said, ‘I never mind, there is lots of time between now and 2 o’clock on Monday, and I will get here just the same.’ I went on the paint bridge Saturday evening after supper and never left until Monday at 11:30, when I had all the scenery finished. It was pronounced by the manager and public as being the grandest production of the Colleen Bawn that had ever been staged. It was pretty hard on me. I went to bed after dinner Monday and slept until Tuesday at 9 o’clock a.m. There are, however, more pleasant things in an artist’s life. Our work is not a burden, it is a life’s study and a pleasure, and I may say I love it. It is the artist who dazzles and deceives the eye and carries you imagination to every part of the globe. When you witness the grand spectacular production, for if you would take the scenic effects away it would be like taking the feathers from the peacock. The bird would be left, but its glory would be gone. Mr. Tschudi will remain in Lexington several weeks while finishing up his work for the Parksburg theater. He may open a temporary studio in Lexington while here, where he will exhibit some of his studies in water colors. A display of his work can now be seen in the show windows of Brower, Scott & Frazee, and they have attracted considerable attention since being put there a few days ago.” (page 3).

By 1897, Tschudi was again listed in the Kansas City Directory, living with his family at 10 East 16^th St. His son, also going by John Tschudi, was living with him. He and his son soon had embarked upon a new adventure, traveling with a new form of entertainment – Edison’s warograph. On Dec. 2, 1898, the “Keytesville Chariton Courier” of Keytsville, Missouri, reported, “The Messrs. Tschudi of the ‘War Graphic Co.’ exhibited their moving pictures at Dickenson’s hall, Tuesday evening. The entertainment was well attended, and the illustrations were both instructive and amusing” (page 8). For clarity, this was a moving picture show.

Two years later, Tschudi was still promoting the warograph. On Sept. 18, 1899, “The Evening Kansan-Republican” of Newton, Kansas, reported, J. U. Tschudi, with the warograph, who will give war pictures every night at some corner on Main street on a monster screen.”

On Oct. 2, 1899, “The Evening Kansan-Republican” went into detail about the attraction in an article entitled, “Warograph in Black Tent.” The article described:

“A very interesting attraction for this week will be the Warograph exhibition in the black tent. This exhibition presents life and action nearly all the battles fought in Cuba and the Phillipines. There you will see the charge of the Rough Riders, battle at San Juan Hill, Evacuation of Havana, Grand Parade of troops at Camp Alger, Destruction of Cevera’s fleet, the Kansas boys fighting before the trenches at Candabar and many other interesting scenes.” The article then quote the Hastings, Nebraska, Republican: “No attraction has commanded a greater patronage nor received more complimentary words than Edison’s Moving War Scenes. This feature of the carnivals has been a ‘hit’ and is certainly worthy of the good words and patronage it has been daily received. It is worth several times the price of admission charged and it is one of the attractive features at the Greater American Exposition at Omaha. The men conducting it are all affable and courteous gentlemen” (page 4).

On Oct. 3, 1899, “The Evening Kansas Republican” published a testimonial about Tschudi’s popular warograph attraction: “Don Kinney received a letter yesterday from E. D. Kipp, a friend of his in Marshal, Mo., who wrote from Fort Scott as follows: ‘I am here looking for attractions and find that your town and Fort Scott have the most of them. The Warograph, handled by J. H. Tschudi, is first class and I can highly recommend it” (page 1).

By 1900, the Tschudi family was living at 2631 Holmes. The household included John Ulrich Tschudi, Marguerite Tschudi, son John Tschudi, and daughter Lucy Tschudi. Their second daughter, Minnie Lillian was no longer part of the household, having married James Edward Brady in 1893. The Brady’s also lived in Kansas City.

Tschudi was still traveling with his warograph. On September 11 and 13, 1900, the “Sedalia Sentinel” of Sedalia, Kansas, published the following article:

“The Pictures are Here.

Splendid Scenes from the Boer War a feature.

Mr. J. U. Tschudi, who was here last year with the warograph pictures in the Ilgenfritz building on Ohio street, returns for the street fair again this year, with a much finer apparatus and a lot of new and interesting pictures, among which are fine views of the Boer war. His location is the leader building, opposite the court house on Ohio street. This is the best and cleanest show going for old and young, and the reputation Mr. Tschudi left last year insures him a splendid patronage. Open day and night” (page 1).

Tschudi traveled all over the country with his entertainment, yet still completed a variety of painting project. On Dec. 27, 1900, the “El Paso Herald” reported, “J. W. Tschudi, the scenic artist, arrived in the city with his wife this morning and will remain here until the carnival week. He has had a great deal of experience in decorating floats and his services can be secured by those who wish to put out floats and have not made arrangements” (page 5).  He was in town for the live stock exhibit and parade the morning of the 18^th].

By 1910, Tschudi had relocated to St. Louis, Missouri; his family remained in Kansas City. Tschudi now lived by himself, listed as an artist and residing at 726 S 2^nd Street, St. Louis. The 1910 census report listed him as a widower. The same census report listed his wife as married.  

Tschudi’s son and wife continue to live together on Holmes Street in Kansas City for the next two decades, although they moved from 2631 Holmes to 2751 Holmes. Tschudi’s son returned to using his adoptive name – John Fohrman. The 1910 Census listed Fohrman’s occupation as an artist in the Scenic Co. industry. He continued to work as a scenic artist until his passing, frequently working for the Kansas City Scenic Co. Nothing really changed for Fohrman or his mother until 1928. On October 13, 1928, Fohrman married Florence Lee Smith; Smith lived just down the street at 2709 Holmes. Marguerite continued to live with her son until 1931, when she passed. Her obituary made no mention of any former husband:

“TSCHUDI – Mrs. Marguerite Tschudi, 81 years old, died last night at the home of her son, John Fohrman, 2751 Holmes Street. Mrs. Tschudi was born in Luxemburg and came to Kansas City from Europe in 1885. Also surviving are a daughter, Mrs. Lucy Armbruster, wife of Benjamin G. Armbruster of the advertising department, Harris-Goar Company, who lives at 2711 Holmes street; a brother, John Merkes, Dubuque, Iowa and a sister, Mrs. Anna Miller, St. Louis.” It appears that Marguerite altered a little of her own history too– or it was an honest misprint.

After his mother’s passing in 1931, John and Florence Fohrman relocated west to California, settling in Los Angeles. In 1946, they moved to Culver City. Fohrman passed away on Jan 29, 1952. His obituary announced:

“John Joseph Fohrman Rites Set Tomorrow.

Services will be held tomorrow at 11 a.m. at the chapel of Smith & Salsbury for John Joseph Fohrman, 83, of 4208 Lafayette, who died Wednesday morning. He leaves his widow, Florence, and a daughter Lucia Fohrman. Born in Chicago, he had lived in Culver City for six years. He was a scenic artist. Rev. Eldred Charles, of the Cardiff Avenue Christian Church, will officiate. The remains will be cremated.”

In regard to the passing of his father, John Ulrich Tschudi, Jr.; Tschudi never left St. Louis. His career began to fade away, and his name no longer made headlines. Until his passing in 1921, Tschudi continued to work as an artist and live at South Second Street. His death certificate listed that he was 70 yrs. old, an artist, and a widower. Tschudi passed away at 614 N. 2^nd in St. Louis, His death certificate listed his parents as John Tschudi and Margaretha Egli – both born in Switzerland. The informant listed on Tschudi’s death certificate was Wm Deven. A small note at the bottom indicates that he was buried in Kansas City. I have yet to locate his grave.

Seven years prior to Tschudi’s passing, he painted “Early Days on the Mississippi.” This may be his only extant painting, as I am unable to locate any other easel artworks by Tschudi;. “Early Days on the Mississippi” may be Tschudi’s sole artistic legacy; the only artwork that marks the life and career of John Ulrich Tschud, Jr.

However, it is the 1914 date and the Mississippi subject matter that is also significant.

In 1914, St. Louis commemorated the 150th anniversary of its founding; as part of the celebration, the City commissioned a two-part civic spectacle. The Pageant and Masque of Saint Louis was presented on the slop of Art Hill in Forest Park from May 28 to June 1, 1914. The pageant used an enormous stage built on pilings in the Grand Basin, measuring over 500 ft. wide and 200 ft. deep. The pageant featured a cast of 7500 volunteers. Some records suggest that there were 75,000 people in attendance on opening night. Three hundred years of local history were presented over the course of five hours, including many scenes from early years on the Mississippi River. Many historic photographs of this spectacle remain, depicting the incredible grandeur of the event. Some are digitally accessible through the St. Louis Public Library as part of the Pageant and Masque of St. Louis Collection.

I firmly believe that Tschudi’s painting was one of many, commissioned advertise the event; advertisements that depicted various scenes from the pageant. This is why the edges of Tschudi’s painting are hemmed, include a painted frame, and title. This artwork was intended to be tacked to a wall, as any advertisement. This painted composition was most likely part of a series depicting significant historical events reenacted at the Pageant and Masque of St. Louis in 1914.

I congratulate the Kimmswick Historical Society’s decision to invest in the preservation of Tschudi’s artwork for many future generations to come.

In addition to writing about theatre history, I also work as a scenic designer and scenic artist.

Here are a few painted details from an upcoming production – THE SORCERER for the Gilbert & Sullivan Very Light Opera Company (Minneapolis, MN).

Directed by Gary Briggle, this production opens on March 10, 2023, at the Howard Conn Fine Arts Center in Minneapolis, Minnesota.

To purchase tickets, here is the link: https://gsvloc.org/home-2/tickets-2/