Copyright © 2024 by Wendy Waszut-Barrett
This post could be titled “Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 114 – Arthur R. Hurtt.” Yes, I have identified more Sosman & Landis employees this month.
There is always a particular drop that catches my eye when examining an historic scenery collection. It might be the design, or maybe a manufacturer stamp; something that makes another piece of the puzzle fall into place.
On Wednesday, January 10, 2024, I examined a street scene at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. It was the end of the very long day, but my heart leapt when I read the signature – “A. R. Hurtt.”
Street Scene by Arthur Hurtt on display at the Theatre Museum of Repertoire Americana.
Signature on Street Scene by Arthur Hurtt.
Painted detail in Street Scene by Arthur Hurtt.
I first became aware of Arthur R. Hurtt while working on an Undergraduate Research Opportunity Program (UROP) Grant at the University of Minnesota Libraries Performing Arts Archives. I was processing the Great Western Stage Equipment Co. collection (GWSE Co.), the second of two scenery design collections negotiated by Professor Emeritus C. Lance Brockman, University of Minnesota Theatre Department (Twin Cities). The GWSE Co. materials were purchased for the University Performing Arts Library through the collaborative efforts of the University Library, the Department of Theatre Arts and University Theatre alum, Tom Scott.
I spent the better part of a year (1989-1990) cleaning and cataloguing the collection under the supervision of Barb Bezat in a run-down industrial building near the Prospect Park neighborhood. It was a far cry from the modern facility (Elmer L. Anderson Building) that is now located on the U of MN West Bank. It was Barb who taught me how to clean, repair, and catalogue incoming acquisitions; many techniques that I have carried over to scenery restoration.
Barb Bezat in the stacks at the old archive building. Photograph courtesy of Bezat.
In my spare time, I replicated several designs, then enlarged painted details in distemper paint in the scene shop. As I was learning necessary scenic art skills, I was also practicing with distemper paint (dry pigment paste and hide glue).
10″ x 10″ replica by Wendy Waszut, 1989.
After copying the design at the archives, I would take my replica back to the scene shop where I would paint a 5’-0”x5’-0” full-scale detail using distemper paint (dry pigment paste and diluted hide glue). In the end my small flats were displayed at various UROP events. I presented the results of the UROP project, “The Categorization and Indexing of the Great Western Stage Equipment Co. Collection” both on campus and at a UROP conference in Schenectady, NY.
Photograph with my 5′ x 5′ distemper painting. Published in a CLA Newsletter, 1990.
I received a second UROP grant to process another Brockman acquisition – The Holak Collection (Sosman & Landis and New York Studios). There is nothing quite processing an incoming collection composed of theatrical designs and supplementary materials. You become entrenched in not only the visuals, but also business logistics and marketing tactics.
Some of my happiest hours were spent exploring the contents of a neighboring collection in the stacks – the Twin City Scenic Co. Collection. Much larger in scope, it had not only been processed in the mid-1980s, but had also been featured in an exhibition. Scenic designs and supplemental materials were exhibited from April 5 to June 14, 1987, in the Third Floor Gallery of the University Art Museum, Northrup Auditorium. I never had the pleasure of seeing the exhibit, as I didn’t start my college career until that fall.
It was while exploring the contents of the Twin City Scenic Collection in 1989 that I first encountered a design by Arthur R. Hurtt.
Hurtt, Arthur R.. Sketch of European street with a bridge and city gate.. University of Minnesota Libraries, Performing Arts Archives., umedia.lib.umn.edu/item/p16022coll116:87 Accessed 29 Jan 2024.
He was a one-time employee of the Twin City Scenic Studio, c. 1900-1909. I again examined the sketch as a doctoral student in 1999. At the time, I was assisting in the design of a searchable database for the Performing Arts Archives scenery collections. One of my many tasks was to assign metadata for each digitized image in the Twin City Scenic Co. Collection, Great Western Stage Equipment Co. Collection, and the Holak Collection.
Screenshot of information that used to be included in the database before it shifted servers.
One of my responsibilities was to select five keywords to best identify the artwork. I also created a list of identifiers, while determining creators. It was a challenge to match paintings based in color combinations, paint application, and brush stroke. I was constantly comparing rough drafts, pencil sketches, and color renderings. This meant that I eventually memorized the contents of three collections.
Best. Training. Ever.
My continued handling of the three collections helped shape my understanding of scenic illusion for the stage. It also provided me with a visual reference when examining extant examples of full-scale scenery at historic opera houses.
When I encountered Hurtt’s signature on a street scene at the Theatre Museum of Repertoire Americana, it was like greeting an old friend. It also meant that I immediately knew the significance of the piece.
I know of no other extant scenic artworks by Hurtt. This drop may be one of the most important artifacts at the museum. Hurtt’s scenic art legacy spanned over sixty years, linking him to major scenic studios in Minneapolis, Chicago, Kansas City, St. Louis, New York, and Los Angeles. In 1901, he was even chosen as the representative of the American Association of Scenic Artists in the international association, visiting Germany, Switzerland, Italy, and Norway in the interests of American scenic art. Although I have gradually added information to my Hurtt file over the years, this project provided me with an opportunity to do a deep dive into his life and career.
His biography is often included in publications that list regional artists, citing that he studied at the Art Students League of New York with Douglas Volks and Irving R. Wiles, and in France with Alex Fournier. Mentions of his early life and scenic art career are vague or non-existent. I am going to try and fill in a few gaps, illustrating the theatrical contributions and remarkable individual who was born in a small Wisconsin Village six months after the onset of the Civil War.
Arthur Russell Hurtt, 1901.
Arthur Russell Hurtt was born on Oct. 31, 1861, in the village of Trimbelle, Pierce County, Wisconsin. For geographical context, the township of Trimbelle is situated along the Trimbelle River in western Wisconsin. It was a newly settled area when the Hurtt family moved north from Illinois.
A map showing the location of Trimbelle, Wisconsin.
Trimbelle’s post office was established in 1855, with postmaster Aaron Cornelison bringing the mail from Prescott once a week. Early buildings included a church, school, and grist mill. As settlers arrived at the area, a variety of other businesses appeared, including sawmills, blacksmith shops, and a furniture store. In fact, ten other townships were organized in Pierce County by 1860. They included Martell, Isabella, Diamond Bluff, Clifton, Oak Grove, Perry, Pleasant Valley, Hartland, Trenton, El Paso, and River Falls.
The story of Hurtt’s parents is quite complex and took quite a while to track down. Arthur was the third child born to William G. Hurtt (1826-1894) and Sarah Marcy Smith (1828-1897). That being said, he was the fourth child born to his mother. Sarah was the youngest daughter of a Revolutionary veteran. On Dec. 8, 1897, The Berkshire County Eagle reported, “Mrs. Sarah M. Smith Hurtt, whose death was mentioned in the County Eagle of November 24, as having occurred in St. Paul, Minnesota, justly claimed to belong to the Daughters of the American Revolution. Her father was the late Russell Smith of Stockbridge who enlisted in the Revolutionary War at the age of 18. He married his second wife here in Stockbridge after he was 60 years old and his only child, Sara M. Smith (Hurtt) was born when her father was 64 years of age. Mr. Smith. Who (by the way was a great uncle of your Stockbridge Correspondent) was one of the revolutionary heroes, who fought for American freedom” (p. 14).
She was quite a lady. In 1896 Mrs. Sarah M. Hurtt was featured in The Minneapolis Journal on April 25, 1896. Under the heading “In a Woman’s World,” the article reported, “This sketch is by her son, Arthur Hurtt, the well known scenic painter, from a bust by Jacob Fjelde, the sculptor. Mrs. Hurtt is the daughter of revolutionary hero, Russell Smith, who at the age of 18 was drafted, in 1780, and fought in the American Revolution. He had three brothers who fought in the same was. His daughter was born when Russell Smith was 64 years old, and she was 14 when he died. She remembers well his stories of experiences in the Revolution” (p. 5).
Bust of Arthur Hurtt’s mother by Jacob Fjelde, published in The Minneapolis Journal, 1896.
The sculptor was Norwegian-born American Jacob Henrik Gerhard Fjelde (1859-1896); well known as a portraitist and creator of public sculptures. Here is a link for more information about Fjelde: https://en.wikipedia.org/wiki/Jacob_Fjelde
Portrait of Jacob Fjelde. Here is the image link: https://commons.wikimedia.org/wiki/Category:Jacob_Fjelde#/media/File:Jakob_Henrik_Gerhard_Fjelde_(1859%E2%80%931896).png
.png){kind=link}
Hurtt’s mother’s story and portrait were again published the following year when she passed; this time in the Minneapolis Daily Times on Nov. 24, 1897 (p. 4).
Sarah M. Hurt portrait, published in the Minneapolis Daily Times, 1897.
This interesting tidbit was again publicly made known when Hurtt was working as a scenic artist in Los Angeles, California. On March 9, 1907, The Los Angeles Times reported, “Mr. Hurtt is said to be the youngest person whose grandfather was in the War of Revolution. His mother was Sarah M. Hurtt, a daughter of a Revolutionary soldier. Her father, Russell Smith, enlisted in 1780 at the age of 18. He was 64 years old when his daughter Sarah was born” (p. 24).
I am going to start out with Sarah M. Smith, as she was the hardest to track down in public records. Sarah was the daughter of Russell and Cynthia Smith, she married her first husband, Royal B. Whitney (1823-1856), at the age of 21 yrs. old on Aug. 24, 1849, in Lanesborough, Massachusetts. This was her 26-yrs. old husband’s second marriage.
The 1850 census lists the newly-married couple living with Royal’s family in Buxton (York County), Maine. Royal was one of several adult children living on the Whitney farmstead that year. Oddly, Royal and Sarah Whitney were also counted at another Buxton household when the 1850 census was taken, with Royal listed as an engineer. In 1853, Sarah and Royal’s only child, Mary Abbey Cynthia Whitney, was born.
This is where it gets a little confusing.
Sarah gave birth to William Hurtt’s first child, Isabelle Hurtt, in 1855. Hurtt was her second husband. Then the couple celebrated the birth of a son, William Hurtt Jr. in 1856. Both children were born in Illinois while her first husband, Royal Whitney, was still alive and legally married to Sarah. He did not pass away until 1856, and Sarah did not marry Hurtt until 1860. Arthur Hurtt was born in 1861, the first legitimate child of Sarah and William Hurtt.
By 1860, Sarah’s second husband was caring for her three children in Trimbelle, Wisconsin. She is conspicuously absent from the Hurtt household in the 1860 US Federal Census Report. William Hurtt’s household included: William (35 yrs.) and his children: Mary (18 yrs., step-daughter), Isabelle (6yrs., daughter) and William Jr. (4 yrs., son). His wife was also living in Trimbelle and working as a schoolteacher. However, she was living with Alexander and Hannah Hathaway, and an 8-yrs. old girl named Sarah Whitney, who listed Wisconsin as her birthplace.
The Hurtt’s were still living in Wisconsin at the onset of the Civil War. William Hurtt enlisted in the Union Army at Prescott, Wisconsin, listing the town as his residence. Private William G. Hurtt served with Company A, 12th Regiment, Wisconsin Infantry, from Dec. 16, 1863, to July 16, 1865.
I am uncertain as to when the Hurtt family moved twelve miles west to Prescott, but they were still living there in 1870. A much larger community than Trimbelle, Prescott is located at the convergence of the St. Croix and Mississippi Rivers and offered many more employment opportunities. It was a center for river transportation, shipping, and milling. There was an ample supply of wood, as harvested pines were rafted down the St. Croix River. When the 1870 census was taken, William Hurtt was employed as a cooper. Keep in mind that those skilled a barrel-making were an essential part of agricultural activities, especially in the Midwest.
The Hurtt family lived in Prescott for much of the 1870s before venturing up the Mississippi to St. Paul, Minnesota. Both William and Arthur Hurtt were listed in the 1878 St. Paul Directory. The family lived at 136 E. Fourteenth, with William continuing his trade as a copper and Arthur working as a painter. In later years, Hurtt recalled that he began his “study of art” in 1878.
The family remained at the same address the next year, with Arthur continuing work as a painter. In 1879, he listed his employer as Ingham & Corlies. This firm manufactured sash, door, and blinds. Painters were employed to paint scenes on decorative blinds for both commercial and residential windows. Edward Ingham’s and William Corlies’ storefront was located at Eighth and Jackson. Arthur likely worked at their factory location; the northwest corner of Sixth and Cedar. Other employed at Ingham & Corlies in 1879 included glaziers, machinists, woodturners, and carpenters. In fact, there were over 200 individuals who listed themselves as painters in the St. Paul Directory that year, working for a variety of firms that included factories for machinery such as St. Paul Harvester Works, St. Paul Plow Works, St. Paul Foundry & Manufacturing Co., and the St. P & D. Railroad. Beck & Rank, E. F. Kramer & Son, Judson & Brack, and J. A. Brazille & Bro. were decorating firms that also employed a significant amount of painters in St. Paul, advertising fresco, home, and sign painting. Hopefully, this provides context for employment opportunities when the Hurtt family moved from Prescott, Wisconsin, to St. Paul, Minnesota.
Hurtt transitioned from painting blinds to painting stage scenery in 1879. In later years, Hurtt listed that his first notable scene painting project was for C. R. Foreman’s “Cuban Spy.” In 1879, Kansas City newspapers announced the engagement of Foreman at Clark’s Coliseum Theatre in his “new and sensational drama…with new scenery, properties, etc.” (The Kansas City Times 30 Dec 1879, p. 8).
Arthur Hurtt painted scenery for Rial’s The Cuban Spy In 1879.
In 1879, William Hurtt was not listed in the St. Paul directory. Only Arthur and his mother, Mrs. Sarah Hurtt, were listed as living at 136 Fourteenth.
It is possible that William Hurtt’s injuries sustained during the Civil War forced the Hurtt family to move up stream and closer to a veterans’ facilities in St. Paul. On June 12, 1880, the William G. Hurt applied for a Civil War pension as an invalid. From this point on, he was not included in any City Directory. The 1880 census confirmed that William G. Hurtt was no longer part of the Hurtt household, as that year, the US Federal Census recorded that only Sarah Hurtt was living with three daughters: Mary A. C., Sarah E, and Martha “Mattie.” Arthur was likely on the road – painting. The 1890 Veterans Schedule listed William G. Hurtt at the Minnehaha Soldiers Home in Minneapolis, Minnesota.
The 1880 St. Paul directory listed both Arthur and his mother living at 59 Cooper. Arthur was now listed as a scene painter, signaling the official beginning of his theatrical career. Hurtt soon working as the scenic artist for Wood’s Opera House in St. Paul and living at 202 13th street.
On Oct. 25, 1882, Hurt married Hansine “Winifred” Cammon (1864-1943) in St. Paul, Minnesota. Born in Henjum, Leikanger, Sogn of Fjordance, Norway, she was the daughter of Ole Ferdinand Cammen (1833-1896) and Bergitte Schanke (1832-1919). She emigrated with her parents as a toddler in 1866. By 1880, Winifred was listed as a domestic servant at the Kennedy boarding house at 183 Exchange Street in St. Paul. I have yet to locate any information regarding how to two met.
In later years, Hurtt stated that he worked on J. Rial’s production “Taken Fron Life” in 1882. Hurtt painted scenery for “Taken From Life” at the People’s Theatre that year. In both 1880 and 1881, Rial’s toured the Academy of Music in Minneapolis, offering an opportunity for Rial to encounter Hurtt (The Saint Paul Globe 7 Nov 1880, p. 8).
In 1883, Hurtt relocated to St. Louis, Missouri, resigning his position at Col. Wood’s Theatre. On April 1, 1883, The Saint Paul Globe reported, “Arthur Hurtt has resigned his position as scenic artist at Wood’s Opera House and will soon leave for St. Louis” (p. 5). As with many scenic artists at the time, Hurtt maintained a residence in more than one city. He painted an “H.M.S. Pinafore” set for the Chicago Ideal Opera Co. Extended stays in any one location for a scenic artist meant that new job offers had to reach them throughout the year. They trailed work from one region to the next, securing a series of rooms. For example, Hurtt was listed as an artist in the 1884 St. Paul Directory, rooming at 239 Norris. The mid-1880s found Hurtt bouncing back and forth between Minneapolis, St. Louis, and Kansas City. Rail travel between this metropolitan areas was extremely accessible at the time.
Hurtt’s services were secured for both the building and renovation of numerous opera houses throughout the 1880s. He was listed at scenic artist at St. Paul’s Olympic Theatre in Harry Miner’s Dramatic Directory for the season of 1884-1885.
His affiliation with St. Paul’s Grand Opera House started in 1883. That summer, he presented a painting to Harry G. Carter, who had charge of building the interior of the Grand Opera House. On Aug. 26, 1883, The Saint Paul Globe reported, “a picture presented by Arthur R. Hurtt scenic artist to Mr. Carter, representing Carter’s process of turning out Opera Houses rapidly, which was very appropriate to the occasion, as he is certainly doing some rapid and excellent work on the new Opera house” (p 5). Smart move, as Hurtt later worked as a draughtsman for H. G. Carter in the 1886, even listing Carter as his employer in the St. Paul Directory
The Grand Opera House opened on Oct. 15, 1883, with Hurtt acting as the venue’s primary scenic artist. The Opera House was located on the east side of Wabasha between Third and, with other places of amusement including Conley’s Varieties Theatre, Knauf’s Hall, Pfeifer’s Hall, Music Hall and Athenæum. A notable project for Hurtt in 1884 was “Siberia.” In 1884, Hurtt painted a new drop curtain for Boyd’s Opera House in Omaha. Nebraska. On Sept. 13, 1884. The North Loop Herald announced, “A new drop curtain, costing $1,000 has been put up in Boyd’s Opera House at Omaha” (p. 3).
Hurtt was still listed in the 1885 St. Paul Directory as “scenic artist Grand Opera House, res 513 Robert.”
The Grand Opera House, St. Paul, Minnesota.
On Feb. 1, 1885, The St. Paul Globe reported, “Mr. Arthur Hurtt, scenic artist at the Grand Opera House, is at work on a handsome tent drop, cottage flats and a couple of interiors, and a landscape scene just finished. Mr. Hurtt has only been connected with the Grand for a short period, but he has more than demonstrated his capacity for fine and artistic work. He is also engaged in revamping several sets of the eye-sore scenery which he found in use on his arrival, and which has been the subject of adverse criticism. The old scenery will be painted out as fast as possible, and before long it will be replaced with a stock of good modern sets. Mr. Hurtt is a gifted artist, and he deserves to be liberally encouraged, his treatment of foliage and figures being particularly fine.” On Feb. 22, 1885, The Saint Paul Globe reported, “Mr. Arthur Hurtt, the scenic artist at the Grand Opera House, is a very retiring and modest young artist. He makes his brush do the talking, Mr. Hurtt is a great worker, and works very rapidly. He is engaged on the flats and settings for the opera house to be produced next week. Two of the scenes are finished, one a garden scene and the other a landscape, both good in color and perspective. Mr. Hurtt is a close student of nature, his foliage being most natural – something not at all easy in scene painting. By the way, the new drop curtain, which was put in place in the West St. Paul theater, is also by. This artist; it is a striking and very attractive piece of work” (p. 2).
In March, Hurtt was heralded for his work on the production “A Social Wreck” that month too. On Mar 8, 1885, The St. Paul Globe “A Social Wreck” – “Special scenery is being painted by Mr. Hurtt, scenic artist of the Grand Opera, for the production of the Opera” (p. 8).
By the end of summer, Hurtt again relocated to another city; his move making news in St. Louis. On August 15, 1885, St. Louis Post-Dispatch (p. 12): “Arthur R. Hurtt, the distinguished young artist who formerly lived in this city and who has made such a splendid hit in St. Paul, has temporarily located to Kansas City. Arthur is a young man who won a name through untiring energy and hard labor” (p. 12). In Kansas City, Hurtt secured accommodation at Independence Square. Hurtt was an immediate success. On August 29, 1885, the St. Louis Post-Dispatch reported, “Arthur R Hurtt is astonishing the natives of Kansas City with the productions of his brush” (p. 11). In 1885, Hurtt delivered scenery to The Academy of Music in Omaha, Tootles Opera House in St. Joseph, Missouri, and the Bijou Grand Opera House in Milwaukee. I believe that Hurtt was sporadically working for Sosman & Landis Scenic Studio at this time. The firm had regional branches, including Kansas City, that hired well-known scenic artists for short engagements when their workload substantially increased.
As previously mentioned, in 1886 Hurtt returned to St. Paul where he worked as a draughtsman for Harry G. Carter. This is not meant to say that he stopped painting scenery for the year, he just accepted enough work to warrant the association in the St. Paul Directory. His work with Carter did not last for long, and soon Hurtt was back as a scenic artist, even on the road, working as a scenic artist throughout the region. In 1887, Hurtt became associated with a Chicago-based firm, likely Sosman & Landis. He returned to Minnesota shortly before the opening of On April 30, 1887, the Leader-Telegram announced, “Arthur Hurtt and Charles Clark, scenic artists, are now engaged in completing scenery for the new Eau Claire theatre, 211 Barstow street. Messrs. Fred Burnard and Hays yesterday purchased the fixtures, lease, etc., of the Sherman House” (p. 3). In addition to drop curtains and stock scenery collection, Hurtt also worked listed the following shows for notable work in 1887: “The Danites,” “Two Orphans,” “The Gallery Slave,” and “The Silver King.”
In 1888, Hurtt became associated with the People’s Theatre. On February 19, 1888, his name was mentioned alongside several other well-known scenic artists in an article entitled “Stage and Scenery,” published in The Saint Paul Globe (p. 10). The article reported, “Arthur B. Hurtt at the People’s Theatre, this city, is comparatively a young artist, having been painting scenery less than ten years, and a St. Louis paper is authority for his being one of the best young artists in the country. Mr. Hurtt is very retiring and modest young artist, a great worker and works rapidly He studies hard, is a close student of nature and has the true spirit of an artist, He has made a life study of trees and landscapes, his foliage being most natural, which is not at all easy to accomplish in scene painting. Being a good colorist, and draughtsman as well, his work is not often surpassed. Mr. Hurtt came here from Chicago a short time before the opening of the People’s theater and has painted all the scenery used there except the drop curtain, which was let to a Chicago scenic firm owing to the rush of the opening.” The Chicago firm mentioned in the article was Sosman & Landis.
Hurtt remained at the People’s Theatre for all of 1888, repeatedly making news for his scenic accomplishments. Notable projects in 1888 included “The Black Flag,” “The Octoroon,” “Hazel Kirke,” “A Celebrated Case,” “Leah, the Foresaken,” “Lost in London,” “The Mikado.” Hurtt was also credited with scenery for Theodore Hamilton’s “Dr. Jekyl and Mr. Hyde,” “Sea of Ice,” and “Forty Theives.”
Of particular note was his work on “The Forty Thieves. On Dec 22, 1888, The Irish Standard reported, “Arthur Hurtt, the scenic artist of the house, returned a few weeks ago from a two-week’s visit to New York in search of designs and materials for the elaborate stage setting which will be a conspicuous feature of the production. He has, since his return, been at work on the scenes, aided by a large staff of assistants, and some strikingly beautiful tableaux’s have been prepared.” (p. 5). Other productions at People’s Theatre included, “Romany Rye,” “The Governor, and “Antietam.” Of “Antietam,” or the Spy of South Mountain,” one newspaper article reported, “A plantation scene will be an especially elaborate piece of stage setting, and Arthur Hurtt, the scenic artist, has provided a cyclorama, showing the stockade prison at Salisbury. Over 500 figures are shown on the canvas, and the scene will be topographically and historically correct” (p. 1).
Hurtt also continued scenic work at theaters in Minneapolis and St. Paul. In 1889 he painted scenery for Jacob Litt’s “The Stoaway” at the Bijou. On Oct. 13, 1889, The St. Paul Globe mentioned Hurtt’s continued association with the theatre in the “Foyer Gossip” section, “Arthur Hurtt, scenic artist of the Bijou, was last week called to Denver to paint the new scenery for the Star-Away company, which was burned up while the company was en route from Salt Lake City” (p. 10).
Hurtt’s work for Jacob Litt’s Grand Opera House in St. Paul even made news in Iowa. On Sept. 7, 1890, the Sioux City Journal reported, “The scenic artists were Arthur R. Hurtt and Fred E. Powers” (p. 10).
Hurtt’s reputation as an easel artist was also on the rise. On Sept. 18, 1890, the Minneapolis Daily Times reported “Arthur Hurtt’s Work. Another Half Hour in the Exposition Art Gallery. There’s a young Minneapolis man whose constant and conscientious work is bound to get him ahead. I refer to Arthur R. Hurtt. He is a clever scenic painter who does not propose to have a drop curtain fall upon him and his art before he has succeeded in appealing to a larger audience than view his stage effects. He puts in all his extra time in hard study, and the results are becoming very creditable to him. In the first gallery at the exposition hangs a picture by Hurtt entitled “Goldenrod.” A young woman in gray is standing in the midst of the Midas-touched flowers. There is some very good work in the picture, especially in the blossoms and the texture and coloring of the gown. Minnehaha is a never-ending joy to the artist or to the genuine nature lover. Her glen has many a beautiful sheltered nook not perceived by the careless comer, only discovered by her to the best of her lovers, just as the noblest of a shy woman is seen only by those who seek her out. Hurtt has painted a bit of “Minnehaha Creek” in No. 466. His “Reflection” too, shows this same hard work which Goethe pronounces the only genius.” (p. 2).
In 1891, Arthur Hurtt assisted William P. Davis in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. On April 11, 1891, “The Irish Standard” reported, “The stage has been enlarged and improved, new curtain and scenery being especially designed and painted by W. P. Davis, as assisted by Arthur Hurtt” (page 5). Davis was also a former Sosman & Landis employee who had worked in Kansas City with Lemuel L. Graham in the mid-1880s.
Shortly after Hurtt’s work with Davis, he headed east to work in New York and Boston, at Niblo’s and the Globe Theatre, respectively. Touring productions in 1891 included DeWolf Hopper’s “The Lady or the Tiger.”
While working in the east during 1892, Hurtt painted drop curtains for stages in: Athol, Mass.; South Norwalk, Conn.; World’s Theatre, Boston, Mass.; and Soldier’s Home Theatre, Togas, Maine. That year, he was living in Boston; first at 426 Broadway S., and later at No. 3, Web Court in South Boston. By 1893, Hurtt listed two residences: 221 W. 11th St., New York City, and the Hillman House in Washington, D.C.
Despite his move, Hurtt continued to return home and paint scenery for Twin City theaters, especially when architect H. G. Carter was involved with the project. In fact, in 1893, Hurtt painted scenery for Minneapolis’ Grand Opera House, Bijou Opera House, and Hennipen Avenue Theatre. On Jan. 1, 1893, The St. Paul Globe announced, “Minneapolis will have another theater, and W. F. Sterling, the veteran manager and prince of good fellows, will be its manager” (p. 13). The article noted that Carter was the architect and “Arthur Hurtt, of the Globe theater Boston, will do the scenic curtain work.” Staff for the new venue was announced on April 1, 1893, in The Star Tribune (p. 3). The article noted, “[Manager Sterling] has postponed the selection of the company long enough to engage his old stage carpenter of the People’s, Wm. Brown, for the new theater. Mr. Brown is at present head stage carpenter for the Harris house in Louisville. He will arrive here sometime before the opening and superintend the construction of the stage. The scenic artist of the new theater will be Arthur Hurtt, now of Niblo’s Garden, New York. Mr. Hurtt is well known in this city and considers it his home.”
Hurtt’s hiring coincided with the birth of his adopted daughter, Mildred “Minnie” M., who was born in North Dakota in April 1893. Although, I have yet to uncover any definitive dates pertaining to Minnie’s adoption, on Oct. 5, 1899, The Minneapolis Journal announced, “Arthur R. Hurtt has gone to Fargo, N. D. for a month” (p. 5).
April 20, 1893, the Star Tribune reported, “Arthur Hurtt, formerly scenic artist of the old People’s (now Bijou) Theater, and lately established in New York and Boston, arrived in the city yesterday to begin arrangements for painting and supplying the new People’s Theatre with scenery” (p. 5). By June, Hurtt began designing for the space. On June 4, 1893, the Star Tribune reported, “L. C. Stafford, proprietor of the new People’s Theater, and Manager Sterling have accepted a bright suggestion for a dramatic introduction to the theater made by the scenic artist, Arthur Hurtt. He will paint four life-sized portraits of great American actors to be handsomely framed and hung on the walls of the entrance-way as a lasting ornament and distinguishing features if the theater. Mr. Hurtt suggested four great actors, but the suggestion was patriotically amended to American actors by Manager Sterling. The sight of the speaking portraits will assist the patrons as they pass in to get into the dramatic spirit that should pervade a theater” (p. 17).
On June 18, 1893, the Star Tribune announced, “Manager Sterling, of the People’s has accepted the design for the drop curtain submitted by Arthur Hurtt. The picture will be poetic and beautifully colored representation of the coming of spring. There will be flowers, children and a beautiful colored representation of the coming of spring. She will be an ideal queen of the May.”
William E. Sterling, manager of the new People’s Theatre.
Interior of the new People’s Theatre.
On March 17, 1894, The Irish Standard announced the anticipated opening of the new People (p. 8). The article described the stage, making special mention of Hurtt: “The paint frame and bridge for scenic artist Mr. Arthur Hurtt and his assistants is on the read was and is incessantly occupied by himself and assistants for the production of new scenes for the forthcoming plays, which will have every scene painted especially for them each week. “The new People’s Theatre opened on March 24, 1891; its final cost estimated to be $250,000.
Hurtt’s career continued to soar, and on May 31, 1894, The Minneapolis Journal Published a detailed article entitled, “Arthur Hurtt’s Dream” (p. 6). I am including the article in its entirety, as it fills in many blanks and shows how much scenic artists traveled for work.
“There is a good deal more in dreams – some dreams – than people sometimes think, and this was attested the other day in a strangely interesting story told to a Journal man by Arthur Hurtt, the scenic painter at the People’s, and well known too, for his work in the line of landscape.
In 1879 Mr. Hurtt came to Minneapolis to do some scenic painting for the old Academy of Music. When he had completed his work here, he went to St. Louis for a few days and then to Council Bluffs where he was to do scenes for a new stock company theater just opening in that town. When he was well on with the work in Council Bluffs, he was, as is often the case with a man in any line of work, so interested that he would dream at night of his plans and work. One morning he woke up and recalled a dream he had of a beautiful landscape. It was a place of rare beauty, a dale or valley in the midst of gentle hills surmounted by graceful trees. In the center of the scene stood a large rock with a splendid old elm tree overhanging it, and near at hand, a clear stream from water, were cattle drinking – a most picturesque and interesting scene. So strong an impression did it make upon his mind that he sketched it out during the forenoon, that seeming to be the only way he could rid himself of the dream that haunted him.
A day or two later a landscape was wanted to fill out the set of scenes. Casting about for some material, the artist bethought himself of his dream, got the sketch, and made a scene from it. It was complimented highly and was one of the best things he had ever done.
This was in the wintertime. In June Mr. Hurtt was in Danville, Ill., putting the scenery in a new stock house at that place. While at work one day some men about the place asked him if he would not like to go for a swim the next day. The Vermillion river is near at hand, a clear, cool stream, and the invitation was accepted, Hurtt took along his sketching box, to note down any suggestion for scenes he might find. When the party was near the bathing place, out in the country some distance from the town, they passed down a little hill and found themselves looking into a beautiful little valley. Hurtt stopped and was suddenly deep in thought. There was something familiar about the place. At last, the thought dawned on his mind that he stood in the presence of the exact scene he had painted from his dream – the same big rock, the high, overhanging elm tree, the wooded hills roundabout, the stream flowing through the grassy valley, and even as he looked some cattle came leisurely down the hill to drink, filling the last detail.
Hurtt could hardly speak when he was asked to go on with the party, he was so overcome with a strangeness of the whole thing. He said he would stop where he was and make a sketch and the rest went on. He was hardly able to use his material at first so impressed was he with the fact that he was actually sketching from nature the picture he had before painted from a dream.
The next day in sauntered and old actor named Keane, who had been playing Council Bluffs when Hurtt was putting in the scenery there and who was a member of the Danville Stock company. After some general conversation he said:
“Say, Hurtt, why don’t you paint a landscape like the one you painted in Council Bluffs; that’s the gem of the whole lot?”
Mr. Hurtt told him perhaps he would, and then asked the actor if he wouldn’t like to take a walk. They did so later in the day, and Hurtt piloted him to the little valley and let him discover the scene of the dream. He was quick to see it, and exclaimed:
“Well, here’s where you got your sketch is it, for your scene?”
Hurtt told him no. that he had never seen the spot until a day or two before; that he had never been to Danville before in his life. When he told the actor the story Keane was much impressed. It may be that the strain of superstition which some folks maintain runs in the blood of an actor was in the old actor’s veins; at any rate, he wrote a long story for it for the New York Clipper.
But the strange part of the matter did not end here.
Some months afterward Mr. Hurtt was in St. Louis. He is very fond of paintings, of course, and one day he stepped into a gallery to look over the collection. Passing from picture he at last halted before a large canvas having a beautiful scene – lo! It was the scene of his dream!
He was sure of it beyond all question – the bog rock, the overhanging elm the cattle drinking. The hilly enclosure, the valley and its grassy carpet – it was his dream scene in all essentials, only worked out in detail somewhat. Ore, as a painter for an exhibition would be apt to introduce more of the details that one painting for a theatre scene.
Hurtt was amazed beyond measure. Plainly the artist who painted it must have visited Danville and made a sketch or done the whole painting there; and then he remembered that the manager of the theater had told him how much the scenery around Danville was admired by the artists and how they came there from various parts of the country to make sketches.
That was all well enough as an explanation of the picture in the St. Louis gallery picture came from – the artist had been there for his sketch, but that didn’t explain the strange fact of the dream in Council Bluffs.
While Hurtt was looking at the picture and wondering about the strangeness of the whole thing, by one of those peculiar mental acts which no one can account t for suddenly remembered being in St. Louis before – a year before. He had passed along this same street and by this same gallery. Yes, and he remembered now that he had stopped in front of the window to look at a beautiful landscape when his attention was immediately taken by an accident in the street. A man or woman was hurt, and it was right in front of him, he stepped to the street with the crowd. He had but just glanced at the picture; had not had a chance to more than take in the general scope, and then when the excitement of the accident was over he had passed on up the street without looking in the window again.
But the one glance had been sufficient to photograph upon his brain the picture, before which he was now standing. In his dream he had called it from its sleeping place in the gallery of his brain.”
In addition to painting scenery for the New People’s Theatre, Hurtt also was associated with Minneapolis’ Metropolitan Opera House. However, in 1895, scenic art opportunities temporarily drew Hurtt back east. On Aug. 21, 1895, the Minneapolis Daily Times announced, reported “Arthur Hurtt, formerly the scenic artist at the Metropolitan, is now occupying the same position at the Broadway Theater, of New York” (p. 5). Hurtt went to paint for John H. Young, another former Sosman & Landis employee. On Nov. 15, 1896, the Minneapolis Daily Times verified the connection when reviewing Hurtt’s scenery in the McKee Rankin production of “New York As It Is” at the Bijou (p. 15). The article reported, “The production is promised to be adequately staged and the special scenes will include a new exterior showing the famous high bridge over the Harlem River, New York, from the brush of the well known scenic artist, Arthur Hurtt, late of the studio of John Young, of the Broadway Theater, New York.” Hurtt continued to work with Young over the years on a variety of projects. In 1898 Young designed the scenery for “Mistakes Will Happen,” with scenery painted by Hurtt. On June 18, 1898, the Minneapolis Daily Times reported, “Arthur Hurtt, the well-known scenic artist, has constructed and painted a remarkable novel scene from models furnished by John Young, the celebrated Broadway artist” (p. 4).
By the following year, Hurt was once again working in Minnesota’s Twin Cities of Minneapolis and St. Paul. Hurtt tried his hand at a new entertainment- Living Pictures at the Jacob Fjelde Testimonial. On May 23, 1896, the Minneapolis Daily Times described, “After a short intermission the curtain rose again over a series of very artistic living pictures, arranged by Arthur Hurtt. The first of these showed Leif Ericson, as Jacob Fjelde has sketched him – a sturdy Viking, standing in the prow of his ship, looking ahead to catch the first glimpse of the shores of Vinland. Allegoric representations of the various fine arts followed. Then came two pictures entitled “Gettysburg,” showing scenes from the famous battlefield. These two pictures were among the finest of their kind that have been seen here. The last picture showed Ole Bull, the great violist. This closed a program. Which, although somewhat extended, was excellent in every detail.”
On May 20, 1896, The Minneapolis Journal described Hurtt’s contribution, reporting, “Most interesting of all, under the circumstances, will be a reproduction, under Arthur Hurtt, of the best works of Fjelde, with living models. The living pictures, for such they will be in fact, will be illuminated by a 10,000-candle power light and will be very beautiful” (p. 13). As previously mentioned, Fjelde sculpted the bust of Hurtt’s mother.
That summer Hurtt expanded on the scope of his entertainment. He placed an advertisement on July 1, 1896, in the Minneapolis Daily Times advertising, “WANTED – Girls to pose for living pictures; professional models preferred; one small child, 3 or 4 yrs. old, to represent Cupid. Apply to Arthur Hurtt as stage door, Bijou opera house. Tuesday, 3 p.m.” (p. 7). Hurtt was in the process of creating a new entertainment. On Sept. 5, 1896, the Star Tribune “Arthur Hurtt’s Living Pictures at the Metropolitan.”
Another description of Hurtt’s “Living Pictures” was published in The Minneapolis Journal on Aug. 21, 1896 (p. 5). Here is the article:
“The living pictures presented at Lake Park last night by Arthur Hurtt’s company were a great success artistically and proved an excellent drawing card. The stage arrangements were very complete and satisfactory, although the preparation had entailed a large amount of work, and the lighting was perfect. Many of the pictures were shown in half a dozen different lights, greatly enhancing the interest and artistic effect. A large number of pictures were shown, nearly all being reproductions of famous and familiar paintings. Each was accompanied by suitable musical selections by the orchestra. The pictures were carefully and gracefully posed and were the best exhibition of the kind ever shown in this part of the country, Many of them were encored. Among the pictures shown were Joan of Arc, Psyches’ Mirror, The Fates, Gettysburg. Cupid, Neptune’s Daughter, Diana, Sappho, Spring, Summer, Grace Darling, Hailing the Ferry, Soldier’s Farewell, and Sweethearts. Miss Carrie Millward gave two admirably rendered coronet solos and Miss Lizzie McKeever sang several popular songs in a very fetching manner, which brought enthusiastic recalls. The big laugh of the evening, however, was when the curtain drew back revealing the round form of a “little Jimmy” posed as Dan Cupid with white wings and bow and arrows making a desperate and successful attempt to keep his face straight. The exhibition will be continued this evening and to-morrow, with numerous changes in the program.”
Hurtt continued to show his living pictures as a vaudeville feature at the Bijou that fall (Minneapolis Daily Times 3 Sep 1896 p. 4). I was intrigued to discover that his living pictures were paired with an animatography debut at the Bijou Theatre and am including the article as is shows an interesting pairing of early film and live theatre. On Aug. 4, 1896, The Minneapolis Journal announced, “LIKE THE VITASCOPE – The Animatograph Makes Its Debut in Minneapolis” (p. 8). The article continued, “Before 200 guests of Manager Hays, the animatography was given trial at the Bijou last night. The animatography is on the lines of the vitascope, which has been on attraction in Chicago and New York recently. It is the kinetoscope principle extended to fill a stage with moving and life-like scenes. Some of the scene showed typical street sights, ocean views, factory workers, bridges and passengers crossing and recrossing. Every picture was full of life, and it needed only the noise of the street and the crowd to add every element of realism.
G. A. Henry, who superintends the production, brought the machinery and views direct from London, Eng., where they were a part of the variety show at the Alhambra. Theodore Hays has secured the American rights with Mr. Henry and is looking after the bookings in this country. The first public production may be in Minneapolis on the roof of the Guaranty Loan building.
At last night’s entertainment Arthur Hurtt produced some of his living pictures and they were rewarded with hearty applause.”
In addition to theatrical endeavors, Hurtt’s easel art was becoming increasing popular. He exhibited watercolors as part of the first spring exhibition of the Minneapolis Art League. Held at Beard’s galleries, his work was featured alongside that of Alexis Fournier, Alex Grinager, Herbjorn Gausta, Prof. Robert Koehler, E. Ofstie, Florence Wales and Miss M. E. Roberts. Of Hurtt’s works, the Minneapolis Daily Tribune reported, “Arthur Hurtt has four strong watercolors, one of an Angora cat being particularly good” (1 June 1896, p. 6). I am going to sidetrack for a moment with the Hurtt family’s love for angora cars. In 1907, their 3-mths. Old angora cat, named Punk, even made the news.
On Sept. 1, 1907, the Star Tribune announced, “Remarkable ‘Puss’ Drinks From Babe’s Nursing Bottle.” The article continued, “’Punk,’ the talented cat belonging to Mrs. Arthur R. Hurtt, wife of the well known scenic artist, is almost human. He is a frisky little three-months-old Angora. According to his owner he is the smartest ‘baby’ for his age in all Hennepin county and can do tricks without number. One of his cutest stunts and one which he must enjoys is to hold a nursing bottle in his pows [sic.] and immediately get away with the contents of the bottle. While performing this favorite pastime The Tribune photographer caught him. Punk is the son of a full blood Angora cat that survived the San Francisco earthquake” (page 17).
Hurtt’s cat, Punk, featured in the Star Tribune, 1907.
Another picture of Hurtt’s cat, Punk, featured in the Star Tribune, 1907.
In 1897, Hurtt continued to travel for work, even venturing into Canada. That year he delivered a drop curtain to the New Winnipeg Theatre.
Hurtt continued his association with the Bijou. Notable productions that he painted for Litt in 1897 and 1898 include “Under Martial Law,” “The Showman’s Daughter,” “Matilda,” and “Mistakes Will Happen.” His association with the Bijou continued to be listed in the 1897 and 1898 Minneapolis Directories:
“Hurtt, Arthur R., scenic artist, Bijou Opera House, r w s 39th av s nw 49th.”
Other projects in 1898 included “Murray and Mack’s Finnigan’s Ball,” “On the Swannee River,” “Elsie DeTourney’s Joan of Arc,” and “Prisoner of Spain.” After the 1897-1898 season closed, Hurtt opened his own studio, placing advertisement in local newspapers. On 31 Jul 1898 Minneapolis Daily Tribune “SCENERY of all kinds. Studio, 215 Hennepin av, the only place of the kind in the northwest Arthur Hurtt, scenic artist” (p. 15).
Hurtt advertisement from Dec. 19, 1899 Minneapolis Daily Times.
On Dec. 19, 1899, Hurtt advertised in the Minneapolis Daily Times: “Scenery for opera houses, halls and secret orders, Arthur R. Hurtt 215 Hennepin, Mpls.” (p. 6).
From the Waszut-Barrett Theatre Collection.
Hurtt’s success prompted a residential move. In 1899, the Hurtt family moved to the Minnehaha Falls neighborhood. That summer, Hurtt hosted the wedding of his younger sister, Martha Charlotte Hurtt to Everett Grey Loring at their new home, 4840 39th Ave. S. The Hurtt’s new home was described in the Star Tribune on Aug. 20, 1899 (p. 14): “Mr. Hurtt’s home is situated on a hill overlooking Minnehaha creek as it winds among the trees, and it provided a lovely setting for a happy event.”
On Feb. 4, 1899, The Minneapolis Journal reported, “The enterprising residents of the Minnehaha Falls District who have built Hiawatha Hall for themselves as the center for the literary, dramatic and social affairs of the suburb, find themselves the objects of many congratulations, not only on this account of the building itself, but because of the artistic drop curtain which Arthur Hurtt, the scenic artist, has supplied for the stage Mr. Hurtt lives on Minnehaha creek, and his environment was therefore well suited to inspire him for his subject. The photograph reproduced herewith gives an excellent idea of his treatment of the subject. The figures were painted from studies made from life in Mr. Hurtt’s studio. The canoe is from the real thing owned by the artist. The scene is on the creek above the falls at the point where Mr. Hurtt has built a rustic bridge near his house. The background is made up of masses of rich greens with a pretty bit of distance. Characteristic birches line the banks, and a deer may be seen peering through the foliage on the opposite shore. The picture is drapes at the top with deerskin fringed in Indiana fashion, and at the top left-hand corner hang beadwork, Indian relics and trophies. A scroll pattern of unique design borders the bottom and sides of the picture, with a strip of gold next to the latter. The whole effect is thus in keeping with the subject and the environment of Hiawatha Hall” (p. 9).
Image of Hurtt’s drop curtain in the Minneapolis Journal, 1899.
On June 25, 1899, The Saint Paul Globe reported, “Among the most expensive of the improvements is the construction, under the direction of W. K. Brown, of a new and commodious stage in the large pavilion, complete with all the requirements and including a complete equipment of scenery and a most elaborate drop curtain from the brush of Arthur Hurtt, the scenic artist” (p. 28). Hurtt was also credited with Minneapolis’ Metropolitan Opera House and the St. Paul Metropolitan that year (Star Tribune 6 Aug 1899, p. 24).
Hurtt’s life and career constantly made news at the end of the nineteenth century. There are so many articles about his scenic work; simply too many to include in this post.
However, one really caught my eye. It was quite unique that places Hurtt in a different light, yet gives insight into his personality and character.
On March 15, 1898, the Minneapolis Daily Times announced, “Arthur Hurtt Tells of Moshik’s Characteristics by the Lines in His Hand” (p. 5). Hurtt read palms. The article reported, “About two months ago, shortly after John Moshik had been sentenced to hang for the murder of Remie Dicharme, Arthur Hurtt, the well-known scenic artist, obtained permission from Sheriff Phillips to visit the condemns man in his cell. Mr. Hurtt is an enthusiastic cheiromant, and he desired to examine Moshik’s hand. Jailer Diffield accompanied him to the cell, and the examination was made, Moshik displaying no unwillingness.
Mr. Hurtt examined the hand closely and took a print of it. He told Moshik of various incidents in his past life, and in every case his statements were corroborated by the man who, next Friday, is to pay the penalty of his crime upon the gallows.
He continued uninterrupted until he told of Moshik’s having rescued from drowning a few years ago.
“You told him that,” cried Moshik excitedly, turning to Jailer Duffield. “You are the only man who knew anything about it. It didn’t happen here, but I told you about it and you told him.”
He was assured that the two men had never met before, and form that time on dwelt with increased interest on what Hurtt told him. He had been forced to believe in what seemed to him miraculous knowledge of the man before him.
As already stated, this examination was made some two months ago, a fact which Jailer Duffield will corroborate, and perhaps the most remarkable thing which was disclosed was Mr. Hurtt’s opinion, expressed at that time, that Moshik would commit suicide about March 10. He warned Duffield that if great care was not taken the man would never live to be hanged. On March 8 Moshik took a spoon which he had sharpened for the purpose and attempted to sever the artery in his wrist, as already reported in The Times. Mr. Hurtt had been mistaken by just two days.
At the close of the examination Moshik asked:
“Do you think they are going to hang me?”
“I don’t see anything in your hand to indicate it,” responded Mr. Hurtt ambiguously.
“I don’t think so either,” responded the murderer, laughing. “I guess it’s all a joke.”
To a Times reporter, Hurtt said yesterday:
“When I examined Moshik’s hand there was nothing there to tell me that he was to be executed, but there was a line which said he was to die in prison, and another which announced it would likely be by his own hand. It is quite possible, however, that if I were to make the examination to-day I would find that the hand would tell me of his execution. The lines change rapidly, you know. It was merely an accident that the man did not kill himself. The intention was there. He simply did not know how to go about it; that’s all.”
For the purpose of better calling attention to Moshik’s peculiarities, Mr. Hurtt has contrasted his hand with that of Kelly, a murderer who was executed last year. Mr. Hurtt’s diagnosis of the two hands follows, just as he himself prepared it, shortly after the examination. The picture of Kelly’s hand was taken after execution:
“We have here two hands of two distinct classes of murderers: In the case of Kelly, executed March 1897, the hand of an impulsive, brutal nature. Note the thick, short fingers and thumb. The whole aspect of the hand impresses an intelligent mind as being thoroughly bad. Quite different is the hand of Moshik. This is the hand of a very unlucky man, not alone because of the fact that he was sentenced to hang. No matter what station in life or in what environments, he would have been with such a hand, an unlucky person – unlucky in whatever he undertook, sure to get the worst of it, as the phrase goes. Susceptible and easily influenced by those around him, he came into the world delicate in both mind and body. His mother was insane at the time of his birth and the headline shows that he has inherited insanity, and that this insanity will show itself at times under certain conditions, such as excitement or rage. However, the palm is pink in color, which denoted a bright, sanguine and hopeful nature. His is a rather square palm, with fingers a little mixed. He is versatile, has a considerable amount of mechanical skill and had he not been so unfortunate as to. Be thrown into a channel of life that he was, he would naturally have been polite, neat in dress, and punctual. Inapt in the professions, governed by the sciences, the owners of such hands excel in negotiation, They are industrious and industrial.
“The following are some of the principle events of his past life as shown in his hands, and which no doubt can be verified by Moshik himself. He was quite ill at the age of 5, nearly died with a fever at twelve and was sick again at 15. The different dates of imprisonment are indefinite but show that he spent just half of his life in prison. One term of nearly half a year was for a crime of which he was innocent. At the age of 20 his mind was at ease for about nine months, for at that time he had his liberty. A few years ago he came to near being drowned by attempting to rescue a drowning woman. He has some affection of the heart, as the line of his heart shows. He has loved a woman who has dark hair, dark eyes and is of medium height. He was engaged to be married, but the engagement was broken by another term of imprisonment, where he was terribly injured in the head.
“Kelly’s execution could have been foretold two or three years in advance of the event as the tendencies grew in that direction, and in his hand taken after death his execution is marked in no less than seven ways. But strange to say, Moshik, although under sentence of death, shows only the danger of execution, however, a certain sign in his hand says that he will die in prison.”
The following year, Hurtt made news again when the passing of Jim Knight made newspapers. On Sept. 23, 1900, the Minneapolis Daily Times announced, “Fall Hermit Passes Away. Demise of the Well-Known Character. ‘Mississippi Jim’ Dies at Hospital” (p. 11). The article began with “James Knight, better known as ‘Mississippi Jim, the hermit of Minnehaha,’ died at St. Mary’s Hospital yesterday, he was 70 years of age.” Of note, a paragraph reported, “Old Jim was found at death’s door two years ago by Arthur Hurtt, scenic artist. He discovered the old man on his bed, in a semi-unconscious sate but managed to resuscitate him.” This account, combined with several others paint Hurtt as an empathetic and kind individual, willing to not only help, but understand those in need.
For the most part, Hurtt’s public presence in newspapers during the late-nineteenth century was primarily contained to Minnesota. In 1900, however, there was a subtle shift as Hurtt’s activities became recognized in neighboring states, including Iowa.
Hurtt’s drop curtain for the Pavilion Stage at Wildwood was also featured in The Saint Paul Globe on July 17, 1899 (p. 8)
Image of Hurtt’s drop curtain in The Saint Paul Globe, 1899.
On Oct. 21, 1900, the Minneapolis Daily Times reported, “Mr. Hurtt was born in Wisconsin less than forty years ago. His mother, a Virginian, was an artist and a lady of refinement. His father was a native of Massachusetts. Mr. Hurtt, when a wee toddler, used to climb up beside the table where the cook was kneading bread and imprint, with his baby finger, faces in the dough and draw on the kitchen floor attempts at pictures with a bit of coal. All through his boyhood he experimented with brushes and colors, and beginning in 1878 he devoted himself to fine art and has been a student in some of the best schools in the country. He accompanied his serious study with scene painting, which is a great school of itself, and thus he has had more than twenty years of experience in scene painting and stage decoration. In his scenic work he is considered to excel in foliage and landscape. That Mr. Hurtt is a man of vaudeville gifts is acknowledged. He studied architecture two years, and his pretty home in Minnehaha park was built under his supervision form plans and specifications made by himself. His drawings and studies of foliage and figures have been published in lithograph and are found in nearly all art stores and are much used by art students. Says the St. Louis Star: “Arthur Hurtt, the scenic artist formerly of this city, is one of the best young artists in the country. His foliage and figure painting being exceptionally fine.” He paints stationary stage scenery and drop curtains for opera houses and his work is also in demand by the great traveling star companies; but few of those visiting Minneapolis are without several scenes painted by Arthur Hurtt. The portrait accompanying this sketch represents him as he looks to-day – a very young man to be called “the father of art in Minneapolis,” but he was here before Douglas Volk came and was inspiration and help to Alexis Fournier when that now rising artist was a struggling student. Mr. Hurtt is proud of Minneapolis but the part of it dearest to him is the vicinity of his home – the beautiful park, Minnehaha creek, the glen, the old houses of some of his neighbors which are not less historic landmarks than are Minnehaha falls, the theme of legend and song. Mr. Hurtt travels widely. His scenic work is found in all parts of the country and everywhere he goes, goes the good work for the honored city of his adoption. He could give The Times but a brief interview; he was just home from a three months’ engagement at Des Moines and was starting out on another trip to keep him away six week. It is needless to follow Mr. Hurtt’s professional career. That he has been successful in owning his faithful, conscientious and steady application not less than to his natural ability His whole life has been influenced by stage art and though he is a picture painter in oils and watercolors and an illustrator of books, that which he has done most he does best and his reputation rests on his achievements in scenic art. That Minneapolis appreciates him is shown by the fact that of her theaters and opera houses five show his work. These are: People’s theater, Metropolitan Opera House, Grand Opera House, Bijou Opera House, Lyceum Theatre. From a list of other theaters and opera houses where he has painted, we select Boyd’s Opera House, Omaha; Broadway theater, New York City; World’s Theatre, Boston. From a list of stage productions extending from 1879 to 1898 he says he considers the following fair examples of his work: “Panorama of the Life of Christ, 500 life-size figures; “The Silver King.” “Hazel Kirke,” Erminie,” De Wolf Hopper’s “The Lady or the Tiger.” – Charlotte Whitcomb” (p. 24).
Reception room, studio-residence of Arthur R. Hurtt, Minnehaha Park. From the Minneapolis Daily Times 21 Oct., 1900, p 24.
The Des Moines project mentioned in the article was for thew Grand. On August 19, 1900, The Des Moines Register described Hurtt’s new drop curtain for the renovated Grand (p. 7). The article reported, “The gloomy interior has given way to light and cheerful shades, and the stage has been equipped with a complete new set of scenery of the latest design, technically known as “flipper scenery.” It can be placed wherever wanted on the stage, and does not require the use of wing grooves. The drop curtain, which was executed by Arthur Hurtt, is a remarkably strong piece of work. The subject was taken from Maurice Leloir’s famous tableau, “La Derniere Gerbe” [The Last Sheath of the Harvest].” Hurtt’s work was further described on Aug. 17, 1900, in The Des Moines Register “The subject of the drop curtain is ‘La Derniere Gerbe.’ And is from the celebrated painting of Maurice Leloir. The artist who executed the curtain, Arthur Hurtt of Minneapolis, has made a highly interesting copy, full of strength and details” (p. 3).
Of the renovation, The Des Moines Register reported, “The remodeling of the Grand opera house is now practically completed. The scenery and fittings are entirely new and render the Grand one of the prettiest houses in the state. The painting and frescoing were done by Arthur Hurtt of Minneapolis, while several of the curtains were made in New York” (16 Aug 1900, p. 3).
Link to illustration: https://upload.wikimedia.org/wikipedia/commons/b/b1/Leloir_La_derniere_gerbe_1883.jpg
Amazingly, I located a watercolor painting from 1890 of the same composition on Pinterest (no citation). Here is the link: https://i.pinimg.com/originals/e2/11/bb/e211bb797a83eda910af9422ea5eed6b.jpg
He was also making headway on a national front. On March 11, 1901, The Minneapolis Journal announced, “Arthur Hurtt Goes Abroad. Arthur Hurtt, the Minneapolis scenic artist, has been honored by being chosen as the representative of the American Association of Scenic Artists in the international association. He sailed for Paris on the Vaterland last Wednesday from New York. He will visit Germany, Switzerland, Italy and Norway in the interests of his art and will return about June 1. Mrs. Hurtt accompanies him” (p. 6). He returned to Minnesota on May 25. His return was published in the newspaper the very next day. On May 26, 1901, the Star Tribune announced, “Arthur M. Hurtt Returns from Extended Foreign Trip Where He Saw and Studied Much That is Valuable” (p. 7). The article reported, “the Minneapolis scenic artist returned yesterday morning, with Mrs. Hurtt from a three months’ trip through France, Belgium, and England. On the way back they stopped by the Pan-American Exposition, which in point of illumination and some other respects Mr. Hurtt says is truly remarkable. While abroad the artist was sketching, spending most of his time in and about Paris. He admires the beauty of the regal city as only an artist could, but he is still true to his colors, nevertheless, for he says the French women are not ‘in it’ with the American-made article.” Hurtt then proceeded to critique current Parisian dress.
On Jun 1, 1901, The Minneapolis Journal published an article announcing, “Minneapolis Artists Win Salon Laurels, Burt Harwood and Alexis Fourier Have Four Canvases Accepted for the Paris Salon” (p. 11). The article began, “There were 7,000 pictures entered at the Paris Salon for exhibition this spring, and of this 7,000 only 300 could be accepted, and of that possible 300 acceptances four came to Minneapolis men.” Hurtt was visiting Paris prior to the exhibition. His stay was mentioned: “Mr. Hurtt admired them himself and heard them highly praised by others…Mr. and Mrs. Hurtt were in Paris several weeks and saw the Minneapolitans resident there. Mr. Fournier was in the same hotel with them. Max Bohm and Mrs. Bohm (nee Miss Newcomb) had just returned from a two-month’s absence in Italy, and are at the Grand Hotel, Rue de Lambre.” His international role was recalled the following year when he began working for Lee Lash Studios in New York. Although
Hurtt was also associated with the Twin City Scenic Co. between 1902 to 1904. However, he never stayed with any one studio for long. His connection with both Sosman & Landis and Twin City Scenic Co. set a precedent for his relationship with Lee Lash Scenic Studio in New York.
On July 25, 1902, the Star Tribune announced, “Drawings for a Minneapolis Opera.” The article reported, “Arthur Hurtt, the scenic artist who was the representative at Paris of the American artists, has left Minneapolis for New York, where he goes to fulfil a three month’s contract with Lee Lash Company, scenic painters, at Thirty-ninth and Broadway. Mr. Hurtt takes with him the drawings and models for the scenes to the Madden-Day opera, ‘Niorada,’ and also the schemes for the three acts of ‘The Newest Woman,’ a new comedy by Oscar F. G. Day. Mr. Hurtt will meet Mr. Madden in New York” (p. 6). Hurtt sporadically worked for Lash until 1904.
Hurtt, like many scenic artists, not only painted scenery for theater stages, but also painted scenery for a variety of public displays. In 1904, he designed a panorama for the World Fair in St. Louis, Missouri.
On May 3, 1904, The Minneapolis Journal, published an article announcing, “A Realistic Panorama of Twin Cities and Fort. The Work, Partly Modeled and Partly Painted, Will Be an Important Feature of the Twin City Exhibit at the St. Louis Exposition.” A photograph of the work was included with the following article: “Minneapolis, St. Paul and Fort Snelling have been presented in a panorama which will probably attract the attention of thousands at the Louisiana Purchase exposition at St. Louis. The big canvas and the carefully modeled foreground was the work of the Twin City Scenic studio, located in the Bijou theater. The greater part of the drawing and work was done by Arthur Hurtt, a Minneapolis scenic artist. When properly illuminated, the panorama will be a beautiful one. In the foreground is a carefully modeled presentment of the Fort Snelling bluff and fort. The bridge across the Mississippi river at this point is faithfully reproduced in miniature and extends back to the canvas of the semi-circular panorama. As one faces the work, Minneapolis is seen in the distance to the left. The river winds down the canvas to hide itself behind the bluff of Fort Snelling in the foreground. It reappears to the right and takes a turn toward St. Paul. The curve is carried out with absolute fidelity to detail, and to the right the saintly city can be discerned. The whole color scheme is calculated to withstand the glow of numberless electric lights which will be concealed behind the model of Fort Snelling. This illumination gives the effects of great depth and distance, and in this feature the artist has done some remarkable work. The background is semicircular in form and requires great care in drawing and coloring. A Mistake in the slightest detail would have spoiled the perspective of the entire undertaking, but it has been successfully carried out. Those who were permitted to see the panorama in its unfinished condition, or, rather, without its hood, are anxious to see it after it has been prepared for the exhibition at St. Louis. The panorama will go in the Twin City pavilion at the St. Louis Fair. It was ordered by the joint committee of the two cities and is to be paid for from the funds raised in the two cities for advertising purposes at the exposition. The panorama was taken down and shipped to St. Louis, Monday, and will be in place on opening day” (p. 11).
Hurtt’s Panorama for the St. Louis Exposition, 1904.
Like many midwestern artists, Hurtt began accepting West Coast projects when the weather turned cold, spending winters in Los Angeles from 1904-1906. He was tentatively planning a move.
Over the course of the next few years as Hurtt continued to gain national recognition. He continued to work from coast to coast. In January, his scenery for “The Sorceress” at the Temple Auditorium in Glendale, California, made the papers. On Jan 27, 1907, The Los Angeles Times featured a scene from “The Sorceress” (p. 79).
The caption read: “Mr. Ferris will revive this brilliant spectacle-play, this week, at the Auditorium. Miss Stone, who, of course, will play the title role, is especially adapted to the part, and is said to have scored unusual success in it in the east. Mr. Robson will be seen as Don Enrique, for him a congenial sort of character. The management promises, as far as scenery and costumes are concerned, a production of unusual splendor and effectiveness. The principal scenic artist, Arthur R. Hurtt, did most unusual work for “The Holy City” and has been preparing this setting for a long time.”
Hurtt’s work at the Temple Auditorium became a career-changing project. On March 9, 1907, The Los Angeles Times reported, “Glendale. March 8 – Arthur Hurtt the scenic artist busily engaged at the Temple Auditorium, has completed the purchase of a site upon which he intends to establish and art studio” (p. 24).
Jess D. Bonner pictured in the article.
Here is my post about Bonner:
Near the end of the year, Hurtt again made news in Los Angeles newspapers. He was called in to assist 28-yrs. old scenic artist Jess D. Bonner (1879-1914), painting four drops for “Sign of the Cross,” at the Auditorium. On December 8, 1907, the Los Angeles Herald reported, “There are fourteen scenes in this four-act play, and Mr. Bonner was called upon to turn them out in eleven days’ time. He has one assistant regularly employed – Maurice Tuttle – and a paint boy to help him. For ‘The Sign of the Cross’ production there was a total of 30,000 square feet of canvas to be covered and the task was too great. Consequently, Arthur Hurtt was called upon to assist, and Mr. Hurtt painted four drops, which will be shown for the first time tomorrow night. These drops contain about 1500 square feet of canvas each, leaving some 24,000 feet to be painted by Mr. Bonner and his assistant.” The entire article was primarily about Bonner but mention of Hurtt shows that he had remained in California for most of 1907. At the time he was 46 yrs. old, his wife was 41 yrs. old, and his adopted daughter was 17 yrs. old.
Although he continued to be listed in the Minneapolis Directory for 1908 and 1909, Hurtt established a new home at 1518 Mohawk in Los Angeles by 1910.
This remained Hurtt’s permanent residence for the remainder of his career. It was a good choice, as by 1920, his next-door neighbor was another former Sosman & Landis artist, Fitch Fulton. Although much older than his neighbor, Hurtt shared many of the same Midwestern connections as his neighbor.
Although Hurtt continued to be listed as a scenic artist in LA Directories, his easel art remained a constant in various gallery exhibitions. He even received a bronze medal at the Southern California Art Exhibition, Southern California Panama Exposition, 1915 San Diego. In 1918 he was included in the publication “Who’s Who in Art,” listed as an illustrator with a brief biography:
“Hurtt, Arthur R., 1518 Mohawk St. Los Angeles, CA.
P., L.- Born in Wisconsin, Oct 31, 1861
Pupil of Douglas Volk. Member: Cal. AC. Award: Bronze medal, Pan-Cal. Exp., San Diego, 1915” (p. 519). Other former scenic Sosman & Landis scenic artists in the publication included: Thomas G. Moses P. Member, Walter C. Hartson, Frank C. Peyraud, and Victor Higgins.
Concerning Hurtt’s scenic work in California, he became associated with E. H. Flagg. Both his 1916 and 1918 LA Directory listing noted E. H. Flagg Scenic Co. as his employer. I have written about this well-known firm in the past, as several former Sosman & Landis employees also worked for Flagg over the years.
Edwin H. Flagg, from March 12, 1919, Los Angeles Evening Post.
1921 advertisement for Flagg’s studio.
There is much of Hurtt’s Californian life and career that remains unknown. I have also yet to locate anything about his adopted daughter after 1904. What I do know is that Hurtt passed away in relative obscurity. After living a life where so many adventures published in the news, his obituary was quite brief.
On 11 Jan 1938 The Los Angeles Times announced: “HURTT, At 1518 Mohawk street, Arthur R, Hurtt, beloved husband of Winifred Hurtt. Funeral services today at 10 a.m. from the chapel of W. A. Brown, 1815 South Flower street” (p. 40)
Although a few of Hurtt’s artworks are listed in online sales, there are precious few examples of his painting. This is what makes his street scene so very significant. It is likely the last remaining example of Hurtt’s scenic art legacy.
To be continued…
