Author: waszut_barrett@me.com

Copyright © 2021 by Wendy Waszut-Barrett

Harry Naile worked as a carpenter at Sosman & Landis in the 1920s. He bridged the transition between the first and second iterations of the company, personally assisting Thomas G. Moses on projects between 1922 and 1925. This was after Moses and Fred R. Megan purchased the firm’s name in 1924.

Harry Elmore Naile was born on June 15, 1879 in Pierceton, Indiana. He was the oldest of five children born to Louis Phillip Naile (1855-1918) and Mary Elizabeth Orr (1854-1900). His parents were married on Sept. 21, 1878. The 1880 US Federal Census listed a ten-month old Harry living with his parents in Pierceton, Indiana. At the time his father was listed as a house carpenter. The couple’s five children were Harry (1879-1930), Charles Frederick “Fred” Naile (1884-1929), Roy Naile (b. 1886), Alta Grace Naile (b. 1891) and Ralph Brian Naile (1897-1958).

Harry’s mother passed away in 1900, and his father remarried a much younger woman named Nora A. Phipps. Nora started out as a servant in the Naile household in Pierceton, listed in the 1900 census as caring for the three youngest Naile children, ages 13, 8 and 2. She was a year younger than her stepson Harry, having been born on May 5, 1880. Nora and L. Phillip were married in Chicago on August 6, 1902, but did not stay long in the city. It was around this time that Louis Phillip Naile began going by his middle name, and began listing himself in directories as L. Phillip. By 1906, the L. Phillip, Nora, and all of their children moved to Kalamazoo, Michigan. That year they celebrated the birth of their only daughter, Loretta A. Naile.

Prior to the move, Harry and his younger brother Fred had briefly moved to North Dakota. The 1900 US Federal Census listed Harry E. Naile and his younger brother Fred living in Pleasant Lake and boarding at the Lester Holbrook farm. There was a third border staying with the Holbrook family, Peter Hobeny, but he doesn’t appear to have had any affiliation with the Nailes. In 1900, Naile was working as a printer. Fred, only 15 yrs. old at the time, was listed as a laborer.

By 1906, Harry and L. Philip Naile were listed in the Kalamazoo City Directory, each working as a carpenter and living at 118 E. Vine Street. Neither were listed in the city directory the year before or after; their stay in Kalamazoo was short. None of the Nailes were listed in the 1907 Kalamazoo Directory, but they were again listed in 1908, all living at 803 S. Park Ct.

In 1907, Harry headed west to Colorado. That year he was listed in the Colorado Springs Directory as and employee at “The Zoo,” and boarding at 1008 Cheyenne Road. During the summer of 1907, Harry married Georgia Evelyn Robinson (1888-1975) in Colorado Springs on June 1. Georgia was the only child of William W. Robinson (1863-1926) and Mary A. “Mamie” Rogers (1869-1954), born in Kansas. Georgia’s father was a well-respected sign painter in the area and likely the reason for her meeting Harry Naile.

By 1908, Harry and Georgia moved to Kalamazoo, Michigan. The couple lived with Harry’s father and stepmother at 803 S. Park Court. The extended Naile household also included Harry’s siblings, A. Grace, C. Frederick and Roy E.

The extended Naile family did not live together for long. Harry, Georgia and C. Frederick moved to Chicago by 1910. The 1910 US Federal Census listed his father’s household was still in Kalamazoo at 830 S. Park; it included L. Phillip, Nora A., Ralph B. and Loretta. Interestingly, the Kalamazoo City Directory that year listed Roy E. Naile as boarding at his parents’ home. During this time, L. Phillip worked as a contractor.

The 1910 US Federal Census listed Harry Naile as a carpenter in the theatre industry, living at 6146 S. May Street in Chicago. He and Georgia were living with two other couples: George R. and Nellie Buckley, as well as William R. and Louisa Church. Buckley was also working as a sign painter, whereas Church was listed as a “collector” in the “installment house” industry. I have no idea what that means. Regardless, Harry and Georgia did not stay in the Midwest for long They returned to Colorado Springs that year. I have yet to locate a definitive explanation for their departure, but it coincided with the death of Harry’s stepmother.

On Feb. 9, 1911, Harry’s stepmother died from complications after having an abortion. Nora was only 30 yrs. old when she passed away at the Borgess Hospital in Kalamazoo. Harry’s little stepsister, Nora’s only child Loretta, was 3 yrs. old at the time. The second oldest Naile child, Charles Frederick, moved home with his new wife Leona in 1912. Charles was employed as a motorman at M U Traction that year. That situation did not last for long, as both Charles and Leona moved out by 1913. By now, the youngest Naile boy from the first marriage, Ralph, was old enough to work and employed as a messenger.

By 1914, Phillip Naile married his third wife, Lucy Hedges (b. 1862), and Ralph moved out. Ralph began boarding at the Y.M.C.A. in Kalamazoo. His father’s third marriage did not last for long. L. Phillip Naile passed away in 1918.

During all of this, Harry and Georgia pretty much stayed to themselves. In 1910, the couple moved from Chicago to Colorado Springs. It appears that Harry initially purchased his father-in-law’s painting business, W. W. Robinson & Co., after the move. Robinson planned to relocate to California, but he never left the state.  Instead, he simply opened another painting business in La Jara, approximately 150 miles southwest of Colorado Springs (as the crow flies).  

W. W. Robinson placed a series of ads after his move to La Jara in 1910. On May 20, 1910, Robinson placed an advertisement in “The La Jara Chronicle,” announcing, “W. W. Robinson. Formerly of Kansas City, Mo., but for the past 14 years located at Colorado Springs, Colo., doing a general painting business, recently sold out and was expecting to locate in California, but after looking over this beautiful valley, has decided to locate here. HE DOES All Kinds of Painting both plain and decorative. Also Paper Hanging. He employs only first-class workmen and guarantees their work. Give Him Your Work and he will finish it to your satisfaction. Mr. Robinson can be found either at office of Chas. Magnes, or at Seyfer’s Drug Store, until he can secure a suitable building.” On July 1, 1910, another advertisement in “The La Jara Chronicle,” stated, “W. W. Robinson HE DOES All Kinds of Painting both plain and decorative. Also Paper Hanging He employs only first-class workmen and guarantees their work. HE WILL BE ABLE TO HANDLE WORK IN Romeo, Manassa, Sanford, Richfield AND THE SURROUNDING COUNTRY ON SHORT NOTICE Mr. Robinson can be found at Seyfer’s Drug Store or Office of Chas. Magnes, La Jara. Give him your work and he will finish it to your entire satisfaction” (page 3).

Robinson’s stay in La Jara only lasted a few years. He was back in Colorado Springs by 1912, running a new iteration of W. W. Robinson & Co. W. W. Robinson and H. E. Naile were listed as the proprietors. Interestingly, it was no longer a painting firm at all, but a tailor shop. This surprised me and I can’t imagine what happened to prompt a painter and carpenter to open a tailor shop, unless it was their wives’ business.  At this time, it was still fairly common men to appear as proprietors on a business run by women; a business that they had nothing to do with.

Advertisements for W. W. Robinson & Co. in  the “Colorado Springs Directory” announced:

W. W. Robinson & Co. The K. C. Cleaners. Tailors for both men and women. All garments made to individual measure. Suits and Coats for men and women range in price from $15 to $50. Alterations of all kinds done on short notice. Cleaning, pressing, dyeing and repair work called for and delivered, Phone Main 595, 128 Nevada Ave., Colorado Springs, Colo.”

The tailor business, like Robinsons’ stint in La Jara, was short-lived. Harry and Georgia moved back to Chicago in 1913 where Naile resumed work as a theatrical carpenter. In 1913 Polk County Directory in Colorado listed, “Naile, Harry E. (Georgia), removed to Chicago, Illinois.”

By 1914, the Chicago Directory listed Harry E. Naile as a carpenter, living at 3635 Vincennes Ave. The 1915 Chicago Directory listed Harry E. Naile as a carpenter, living at 3641 Vincennes Ave. In 1917, Harry E, Naile was still listed as a carpenter, but now living at 514 E. 42^nd St.

By 1918, Naile is listed as a stage mechanic at the Chateau Theatre, 3810 Broadway in Chicago. He and Georgia are now living at 514 E. 42nd Street. On his WWI draft registration card that year, Naile was described at 5’-7” with a slender build and blue eyes. Interestingly, no hair color was listed on the registration. In regard to the Chateau Theatre, it was built in 1916 with a seating capacity of 1800. The Chateau Theatre later became known as the Vogue Theatre.

Sometime within the next four years, Naile began working at Sosman & Landis. It was tumultuous time for the Nailes. On Jan. 1, 1920, the “Chicago Tribune” published a notice placed by Naile (page 36): “PERSONAL – AFTER THIS DATE I WILL not be responsible for any debts contracted by anybody except myself. Harry E. Naile.” I have to wonder what was going on to prompt such an announcement. Maybe it simply concerned his father’s estate and unpaid bills from 1918. Regardless, he and Georgia were living in the South Tower at 57 East Van Buren Street, South Town Chicago. This multi-family complex was home to dozens of theatrical technicians and performers.  The 1920 US Federal Census, however, only listed Harry as living in the South Tower. Georgia was also living in Chicago though, so it may have been an oversight.

An obituary for Georgia’s grandmother confirms her residence in Chicago that year. Oct. 22, 1920, “The Jacksonville Dily Journal” reported, “Tuesday, October 9. Mrs. H. M. Lansing passed the 86^th milestone in her journey of life, and the event was fittingly observed at her home, 802 North Diamond street, Mrs. Lansing received several nice presents as reminders of the day. A splendid dinner was prepared under the skillful supervision of her daughters, Mrs. Eva A Coker, of Pisgah, and Mrs. Mamie Robinson of Colorado Springs, and granddaughter, Mrs. Georgia Evelyn Naile of Chicago. The day was one of much enjoyment and those who were present joined in wishing the venerable hostess many more such happy days. Mrs. Lansing was remembered in a very substantial way by her highly esteemed son-in-law, Will W. Robinson, of Colorado Springs, Colorado”  (page 6).

Naile was repeatedly mentioned by Moses in his memoirs from 1922 to 1925. Projects completed by Moses, with Naile’s assistance as a stage carpenter, included scenery for the Little Rock Scottish Rite Theatre (Arkansas), Tacoma Scottish Rite Theatre (Washington), Binghamton Scottish Rite Theatre (New York), the Pasadena Scottish Rite Theatre (California) and the San Jose Scottish Rite Theatre (California).

In 1922, Naile and Moses delivered new scenery to the Scottish Rite Theatre in Tacoma, Washington. Of the project, Moses wrote, “Harry Naile showed up the latter part of February.  We then started to get things into the Temple, and it began to look like a job… On the completion of our contract and on the eve of our departure, the trustees gave us a dinner in our honor, which was attended by Harry Naile, it was very fine – we certainly felt honored.”

Naile and Moses then headed to San Francisco for a few projects, including scenery for a Shrine Circus, and then head on to Oakland, California, for more work.

In 1923, Naile assisted with the removal of the old scenery and installation of the new scenery for the Little Rock Scottish Rite Theatre. In a letter from Charles E. Rosenbaum to Sosman & Landis on April 23, 1923, Naile was mentioned by name. Rosenbaum wrote, “As time is now limited in which this work must begin and be finished, we must insist that Mr. Naile the expert stage carpenter will be here not later than May 20th next, to begin to dismantle our present stage and make preparation for equipping the new one. Mr. Moses is to either come when Mr. Naile does, or as soon thereafter that is necessary in order not to delay the work of painting, constructing and erecting the scenery.” Of Nailes work on the project, Moses wrote, “Naile and his men are not giving me full service and I am getting desperate, as to my ability to pull the contract through with profit.”

Despite Moses’ concern in Little Rock, he requested that Naile be on site for the Binghamton Scottish Rite project. Moses wrote,  “I insisted on having Naile on the job, so Hunt allowed me to send for him.  He and Mrs. Naile arrived on the 1st of October and we then proceeded to get things going.” 

By 1925, Moses and Nail were working at the Scottish Rite Theatre in Pasadena, California. The Pasadena Scottish Rite had purchased a used scenery collection from Little Rock, Arkansas, that needed to be touched-up, supplemented, and installed. Nail was in charge of both the used stage machinery and scenery installation. Of the work, Moses wrote, “Harry Naile is coming along with his work fairly well, and we will finish on time without a doubt.” Naile was also mentioned in “Pasadena Evening Post” on Feb. 14, 1925 (page 16).  The article reported, “The final work of hanging and installing the curtains will be under the supervision of Harry Naile, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Naile was brought from Chicago so that no mistake in installation could be made”

After the Pasadena Scottish Rite project, Moses and Nail worked in San Jose. Of that endeavor, Moses wrote, “I started for San Jose on March 27th and found Naile had everything in good shape.” It was in the midst of the San Jose project that Moses’ health began to fail. He was unable to complete the job, relying heavily upon Naile and Fitch Fulton to finish everything up. Moses later wrote, “The members of the studio were very kind to me, and my room was filled with flowers; the studio boys did not forget me.  I here realized what brotherly love meant.  Fulton and Naile went to Los Angeles to do the Fullerton job which was carried through without a hitch.  Walter handled the payments in Los Angeles, and everything was done on time and highly satisfactory, and was settled for promptly.” Moses does not mention Naile again in his memoirs.

Naile’s departure from Sosman & Landis may have had something to do with the death of his father-in-law in 1926. In 1925, William W. Robinson was still listed as a painter in the Colorado Springs Directory. The next year, he was listed as a salesman, living at 22 N. Chestnut. In 1927, the Colorado Springs Directory simply listed, “Robinson, Wm. W. died Aug 21 ’26 age 63.” To date, I have only located one official notice for his passing; it was in a newspaper in Jackson, Illinois. On August 22, 1926, “The Jacksonville Daily Journal” reported, “Will Robinson Dies in Colorado Springs. A telegram was received Saturday by Clyde C. Swales of this city telling of the death of his cousin, Mrs. Georgia E. Naile’s father, Will W. Robinson. Mr. Robinson died at his home in Colorado Springs yesterday. He had been ill but a week. Mrs. Robinson is a sister of Mrs. George Swales of this city” (page 5). To date, this is the only obituary notice that I have located for Robinson. His widow, Mary A. Robinson, soon began working as a housekeeper, living at 1418 N. Royer.

I have yet to come across any other information about the Naile’s from 1926-1929. However, Harry E. Naile is listed in the 1930 US Federal Census, living at the Kenmore Beach Hotel, at 552 Kenmore Avenue in Chicago. Naile’s occupation was listed as “superintendent” at a theatrical supply company, although it remains unclear as to which firm he was working for. If more information comes to light, I will update this post.

Naile died shortly after the US Federal census was taken that year, passing away on September 15, 1930. He was only fifty years old at the time and I have not located any death record or obituary notice. Only the Colorado Springs directory noted his passing: “Naile Harry L. E. died Sept 12 ’30 aged 51”. Naile was buried in Evergreen Cemetery, Colorado Springs, El Paso County, Colorado (plot T-077).

Harry Naile’s gravestone in Evergreen Cemetery, Colorado Springs, Colorado.

Georgia was left a widow at 46 yrs. old. Like her mother, she never remarried. Of Georgia’s own passing 45 yrs. later, Colorado Springs’ “Gazette Telegraph” announced, “Mrs. Georgia Naile, 2612 W. Cucharras, passed away Tuesday at a local nursing home. Arrangements later”  (12 March 1975, page 4). Both Georgia and Harry are buried in Colorado Springs’ Evergreen Cemetery.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Fitch Fulton was a scenic artist who worked with Thomas G. Moses at Sosman & Landis from approximately 1924 to 1925. This was shortly after Moses purchased the Sosman & Landis name, establishing the second iteration of the company.

Fulton is well-known in the fine art world for his landscape paintings, prices for his work still fetching thousands of dollars. He also worked in the Hollywood film industry and is included in the Matte Painting Encyclopedia, INDEXFX (http://bigerboat.com/indexfx/?p=584). One of his most famous works was of Tara, seen behind the opening credits in Gone with the Wind.

The same information about Fulton is cut and pasted from one database to another, and frequently starts with: “Fitch Fulton studied at the Art Students League of New York city and at the Art Institute of Chicago under Vanderpoel, Freer, and J. Francis Smith. He came to San Francisco in 1913 to continue doing set design work, and moved to Los Angeles in 1916, where he worked for Fox Studios and others. He was a member of the Academy of Western Painters, the California Watercolor Society and the California Art Club, among others.”

There is so much more to Fulton’s story, starting with the fact that he did not move to California in 1913; he was only working on a project there. At the time, he was still living in Denver, Colorado. Fulton’s scenic art career began long before that, however, in the small town of Beatrice, Nebraska. He was not the only member of his family to enter the theatre profession either. Here is Fulton’s story…

Fitch Burt Fulton was born in Beatrice, Nebraska, on Oct. 10, 1879, the youngest of eleven children born to John Blythe Fulton (1835-1924) and Sarah Phipps (1835-1902).  His parents were married on Nov. 24, 1858, and celebrated the birth of their children over the course of two decades. Various birth records and census reports help track the Fulton family’s journey from Pennsylvania to the Great Plains of Nebraska. In 1859, the first two children were born in Pennsylvania. Fitch arrived twenty years later in 1879, shortly after the family arrived in Beatrice. That being said, dates and names slightly vary from one census to the next, with some of the children dying in infancy. There is always the possibility of human error too. However, I have assembled a compilation of those whom I believe were Fitch’s siblings. Here are the names of the Fulton brood: twins  Margaret “Maggie” Ann and William Fulton (b. 1859); Oliver Phipps Fulton (b. 1862), Mary Belle Futon (b. 1862-1863) Thomas Baskin Fulton (b. 1864), William Sherman Fulton (b. 1867), Hattie Fulton (b. 1868), Susan Fulton (b. 1868-1869), Richard Newton Fulton (b. 1869-1870) Henry Fulton, (b. 1870) and Jesse Berlin Fulton (b. 1872-1873). Of the twelve children listed above,  Susan was likely adopted at birth, as she later appears on the Native American rolls, a full-blooded descendent of the Choctaw Nation in 1904.

The first two Fulton children, twins, were born in Sandy Lake, located in Mercer County, Pennsylvania. The 1860 US Federal Census listed John and Sarah Fulton living with their eight-month-old twins, Margaret and William. John Fulton was listed as a physician, a profession he continued throughout the duration of his life. The fourth child, Mary Belle Fulton was born in Champaign, Illinois, placing the Fulton Family in that city around 1862. Five years later, the Fultons were living in Fairbury, Illinois where Thomas, William S., and Richard N. born. Sometime after Richard’s birth in the spring of 1870, the Fultons moved to Pymosa Township in Cass County, Iowa. They were not in Iowa for long though, as Jesse B. was born in Gage County, Nebraska by 1872. Fitch was born in Beatrice seven years later. By 1880, the Fulton family home was located at 159 Seventh St. in Beatrice. Beatrice is now known for Homestead National Monument, park of the National Park system (https://www.nps.gov/home/index.htm). Beatrice was the site of the first claim staked on government land made available to settlers under the homestead act of 1862.

Little is known of Fitch Fulton’s childhood in Beatrice, exactly when his painting career began, or why he entered the theatre industry. The same year that Fulton was born, however, the railroad connected Beatrice to Marysville, Kansas. Previously, the railroad went only to Lincoln, Nebraska, Nebraska. As Fitch grew to adulthood, so did Beatrice’s connectivity with the rest of the country. By 1890 the Chicago, Rock Island and Pacific Railroad arrived in Beatrice, offering ever-increasing access to other areas throughout the region.

On September 30, 1898, “The Tribune” in Beatrice, Nebraska, reported, “Fitch B. Fulton, the young Beatrice designer and engraver, is rapidly coming to the front. He has gotten up some very handsome and artistic designs of late. The young man shows great ability and undoubtedly has a very bright and successful career before him” (page 6). Futon was only nineteen years old at the time. On October 15, 1898, the “Beatrice Daily Express” reported, “The carnival cut on this page is the design of Fitch B. Fulton of this city. It is a credit to Mr. Fulton’s genius and betrays the evidence of a rising young artist.” Fitch’s work for the local newspaper was likely helped along by his older brother, Thomas, who was the editor of the  “Beatrice Daily Sun.” This connection meant a guarantee that many of Fitch’s accomplishments and travels also made the news.

On March 14, 1899, the “Beatrice Daily Express” reported, “Fitch B. Fulton has gone to Chicago to re-enter the art institute there.” Several of the Fulton relations were in Chicago about this time. Fitch’s older sister, Hattie, had married a baker named Ewart E. Samman, and was living at 1894 Fulton Street in Chicago. As her younger brothers left home and moved to Chicago, each likely found a safe haven at Hattie’s. In 1900, the Hattie Samman was housing both Jesse Fulton and Frank Damel, each listed as actors that year.  

In Chicago, Fulton studied under John Vanderpoel, Frederick W. Freer and J. Francis Smith, all at the Art Institute. Fulton likely encountered dozens of scenic artists at the Art Institute during this time, especially many who worked at Sosman & Landis. Fulton’s studies in Chicago were very brief, and he soon headed west. By 1900, Fulton was living in Denver, Colorado. On June 23, 1900, his hometown newspaper in Beatrice, Nebraska, reported, “Fitch B. Fulton, of Denver, is in the city for a visit over the Chautauqua.” The 1900 US Federal census listed Fitch B. Fulton as a portrait painter, boarding at 353 S. Tremont St.  He was one of several individuals living at the home of Ann Rose.

He also worked as a scenic artist and sign painter, soon becoming associated with the advertising firm of C. W. Earle. In 1902, the “Ballenger & Richards Denver City Directory” listed Fitch Fulton as a sign writer at C. W. Earle, living at 353 S. Tremont. C. W. Earle was an outdoor advertising company. The firm’s listing in the directory noted: “Charles W. Earle, outdoor advertising signs, 1942 to 1948 Curtis, r. 3119 Downing av.” The directory also provides a snapshot of employees associated with the firm that year. The staff included “sign writers”- Albert E. Thomas (2532 E 3d av.) and Valentine Costello (1118 27^th). Company employees who listed themselves as painters included William H. Remmelee (2326 W 32d av.), Cleve C. McDaniel (2205 Lawrence), Lee C. Stryker (623 E 1^st av.), John G. Ohnimus (2247 Hooker), Charles W. Dent (1756 Curtis), and Bert Aldenhoven (1756 Curtis) Interestingly, William E. Dent was a carpenter for the firm, living with his brother and Aldenhoven, and the firm’s distributor, Bert Veeder, at 1756 Curtis. Fred Black was also listed as a distributor for the firm, but listed no home address. Louis Straughan was another carpenter for the firm. Joseph C. Earle was listed as the firm’s solicitor (3119 Downing av.) and Jay Kerstetter as the bookkeeper (2251 Lafayette). It was quite a sizable firm, with a substantial amount of healthy competition too.

That spring Fulton got married. He married Swedish immigrant Anna Maria Engstrom (1879-1941) in Golden, Colorado, on March 8, 1902. Born in Forsa, Gälveborg, Sweden, Anna was the daughter of Anders Wiktor Angstrom and Anna Sofia Wahlberg. The Engstrom family emigrated from Sweden in 1889. Shortly after marrying, Fitch and Anna moved back east, settling in Beatrice. In Fitch’s hometown they celebrated the birth of their son, John Phipps Fulton on Nov. 4, 1902.  Two days prior to his arrival, Fitch’s mother passed away. On Nov. 4, 1902, the “Beatrice Daily Sun” reported, “Mrs.  Sarah Fulton, wife of Dr. J. B. Fulton, died at her home in this city on Sunday morning at 4 o’clock, aged 68 years. The funeral will take place from the family residence, Thirteenth street, between Court and Market, at 3 o’clock this afternoon. Friends are invited” (page 1). A lengthy obituary was published in the “Beatrice Daily Sun” on November 6, 1902 (page 1).

Her obituary notice provides some additional information about Fitch’s mother and the Fulton’s move to Beatrice:
“Sarah Phipps, was born June 7, 1835, near Clintonville daughter of Judge Phipps. On November 24, 1858, she married Dr. J. B. Fulton. They located in Livingston county, Ill., where they resided for many years. In November 1878 they came to Beatrice where they have since resided. In 1897 at the Phipps reunion on the 26th and 27th of August a reunion of the Phipps family was held near Clintonville, Pa., on the original Phipps farm to celebrate the one hundredth anniversary of the settlement of John and Catherine Phipps. Three thousand people were present of which seven hundred descendants of the Phipps family were represented…Mrs. Fulton was the mother of eleven children, nine of whom, together with her husband, survive her. They are Oliver P., Mrs. W. W. Johnston, Richard N., Thomas B., Fitch B. and Mrs. Bell Barker of this city. Will S. and Mrs. E. H. Sammon of Denver, and Jesse B. of New York City. She had been in failing health for two years…”

Although mourning the loss of his mother, Fitch’s career began to soar. His project load rapidly increased and he soon entered into a partnership with George A. Drew. The two established Fulton & Drew, a painting studio that specialized in scenic art and sign painting. Their projects included scenery for theaters and business signage throughout the region. Again, it helps to have a brother who is editor of the local newspaper; Fulton’s projects and travels were closely monitored at this time. 

Here is a partial list of their work in 1902 to give some sense of scope:

On Aug. 7, 1902, the “Beatrice Daily Sun” reported, “F. B. Fulton and George Drew left yesterday for Council Bluff, Ia., where they have secured a contract for doing some scenic painting” (page 3).

On Aug. 26, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew have the contract for painting the drop curtain in the hall at Crab Orchard” (page 3).

On Oct. 18, 1902, the “Beatrice Daily Sun” reported, “F. B. Fulton has been putting up some neat window signs the past few days advertising the special brands of cigars handled by H. A. Miller” (page 3).

On Oct. 31,  1902, the “Beatrice Daily Sun” reported,”Messrs. Fulton & Drew have painted some neat and attractive signs on the new building of the German nurseries, corner of Second and Bell streets” (page 3).

On Nov. 1, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew have painted a fine sign for the Speier Clothing Co., on the corner of Court and LaSalle streets. The sign certainly does the young paint slingers credit. It’s a peach” (page 1).

On Nov. 7, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew are painting a nice sign for William Ellerbeck, the south Sixth street implement man” (page 3).

On Nov. 25, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew are doing some neat sign work for Hunting & Kirby. The North Fifth street dentists” (page 3).

On Dec. 3, 1902, the “Beatrice Daily Sun” announced, “Fulton & Drew, the sign painters, have secured a big contract at Omaha, and will be there the next few weeks completing the job” (page 3).

On Dec. 21, 1902, the “Beatrice Daily Sun” reported, “Messrs. Fulton & Drew, the scenic painters, returned home yesterday from a trip of several weeks in Omaha, where they painted a drop curtain at Fremont while away” (page 3).

In addition to his work as a  and sign painter, Fulton continued to thrive as an easel artist.

On Dec. 7, 1902,  Fitch’s artworks were mentioned in the “Beatrice Daily Sun”:

“Local Artist’s Work.

The Beatrice Book and Stationary Co. has on display in their north show window a number of sketches done in water colors by Fitch Fulton, a local artist. These simple studies are well executed and show a fidelity to nature that is remarkable. The color is rather subdued but is more striking because of the prevalence and effects of the soft tints, At present Mr. Fulton is in Omaha engaged in work of this nature.”

On Dec. 16, 1902, the “Beatrice Daily Express” reported, “The Beatrice Book and Stationary Co. has on display in their north show window a number of sketches done in watercolors by Fitch Fulton, a local artist. These simple studies are well excited and show a fidelity to nature that is remarkable. The color is rather subdued, but it is the more striking because of the prevalence and effect of the soft tints. At present Mr. Fulton is in Omaha engaged in work of this nature.”

Fulton’s partner, Drew, was also quite young, three years his junior. The son of a carpenter, George A. Drew was born Oct 1882 in Illinois. Unfortunately, he did not last long in the painting business and soon left the theatre industry.  Fulton & Drew only lasted for three years, from 1902 until 1904, but they accomplished quite a number of projects in their brief time together.

Here are a few projects completed by the firm between 1903 and 1904:

On  Jan. 29, 1903, the “Beatrice Daily Sun” reported, ”Fulton & Drew, the scenic artists, expect to leave today for Council Bluffs, Ia., where they have secured the contract for painting a drop curtain. From there they go to Sioux City and other points in Iowa, having secured thirteen contracts in that state for putting in new drop curtains” (page 3).

On Feb. 28, 1903, the “Beatrice Daily Sun” reported, “Fulton & Drew, the scenic painters of this city, are now at Guthrie Center, Ia. Since leaving here several weeks ago they have painted new drop curtains in the opera houses at Council Bluffs and Atlantic, Iowa” (page 3).

On July 12, 1903, the “Beatrice Daily Sun” reported, “Fulton & Drew, the scenic artists, are painting a drop curtain for the Wymore opera house. They have it about completed” (page 3).

On May 7, 1904, the “Beatrice Daily Sun” reported, “F. B. Fulton and George Drew are at Lyons, Neb., where they are engaged in painting a drop curtain for the opera house at that place” (page 3).

On July 23, 1904, the “Beatrice Daily Sun” reported, “Fulton & Drew painted a new sign for the Begole & Van Arsdale company yesterday” (page 3).

On Aug. 19, 1904, the “Beatrice Daily Sun” reported, “The new drop curtain for the opera house, has been completed and it is a work of art, highly creditable, and one that Fulton & Drew may well feel proud of. There are very few advertisements on it, and the colors and blending are perfect. It will be hung today” (page 3).

In 1904, Fitch Fulton was listed as an artist in the Beatrice City Directory, living at 427. N. 8^th. The Fulton & Drew partnership ended by 1905.  My best guess is that Fulton left town for greater profits, heading west where the money appeared to flow like water in certain areas.  By the summer of 1905, Fulton was living in Cheyenne, Wyoming, where his daughter Bernice was born on July 23.

As for his business partner, George A. Drew, Drew briefly managed a painting and wall paper firm known as Childs & Drew.  The local newspapers reported the firm’s dissolution on August 23, 1906. Within a few years, Drew was solely working for the Beatrice telephone company.

Fulton continued to thrive, as did the rest of his bothers. He was not the only Fulton to enter the theatre industry. His older brothers William and Jesse established a stock company.  I am going to add a little information about his two older brothers and their business adventure, as it helps to paint a much broader picture of the Fulton family, placing Fitch’s own career within the midst of well-educated and talented individuals.  Fitch’s older brother Jesse was quite a gifted operatic tenor. Although Jesse was also skilled as a traveling salesman and plasterer, he made a name for himself on stage. Unfortunately, his career was cut short just as his brother Fitch’s was taking off.

On Nov 29, 1912, the “Lincoln Journal Star” reported

“Death Put End to Brief Career on Stage by Fulton

Beatrice, Neb., Nov. 29. –

Jesse B. Fulton, whose death Tuesday afternoon occurred at Phoenix, Ariz., had gone there in hopes of benefiting his health, which had been very poor since an attack of typhoid pneumonia a couple years ago. Mr. Fulton died at St. Luke’s hospital in Phoenix. Mr. Fulton began appearing on stage when a boy. He had a sweet tenor voice that made a great hit wherever he sang. His first engagement was with the Boston Opera Co. and it was not long until he was singing lead roles of the ‘Mikado,’ ‘Bohemian Girl,’ ‘Pinafore,’ ‘Olivette,’ and others. Later Mr. Fulton entered the dramatic field and became a popular actor. He played with Neil Burgess in ‘The Country Fair’ and sang with the Metropolitan Quartet, a big feature of the Burgess show. He finally entered stock work and became manager of the Fulton Stock Company, which for a number of years played in Lincoln and made a record for crowded houses. Mr. Fulton was married to Mrs. Enid May Jackson, a beautiful and talented Kansas City actress and she became his leading lady of his company. Besides his widow, and little son, Oliver, he is survived by his father, Dr. J. B. Fulton, of this city, three sisters and five brothers. They are Mrs. W.W. Johnston of Omaha, Mrs. Belle Butt of Los Angeles, Calif., Mrs. Hattie Scammon, of New York; O. P. T.B. and R.N. Fulton of this city. W.S. Fulton of Omaha and F. B. Fulton of Denver. The remains will probably arrive here next Saturday or Sunday when funeral arrangements will be made” (page 5).

Jesse and his older brother William started their stock company between 1905 and 1906.

This was shortly after Jesse’s marriage to actress Enid Jackson. The two were married in Kansas City on Jan. 7, 1904, with the On Sept. 22, 1905, the “Beatrice Daily Sun” reported, “The paper speaks in the highest terms of the work of Jess B. Fulton and Miss Enid Jackson” (page 3). On Sept. 4, 1906, the Fulton Bros. Stock Co. was mentioned in the “Beatrice Daily Sun.” Will S. Fulton was listed at the manager for the company, with Mr. and Mrs. Jess Fulton working as the leading performers (page 3).  William was also a performer, as well scenic artist and sign painter. He would resume a painting career after the passing of his brother and the closing of the Fulton Stock Co.

By 1900, William Fulton was also successfully employed as a “sign writer” in Pueblo, Colorado. This was at the same time that Fitch was working was working in the same profession in Denver. William was also popular as a musical conductor. His obituary notice provided a little more information about the Fulton family’s musical attributes.

On 23 Dec 1955, the “Beatrice Daily Sun,” reported:

“They were a musical family. When the children were large enough to handle a musical instrument, Fulton’s band became a popular Beatrice organization. All members of the band were members of the family. Will continued in music professionally for many years and music was always his hobby.” In 1907 Will was listed as the conductor for the Beatrice Symphony Orchestra.

Back to Fitch Fulton…

In 1908, Fitch and Anna were listed in the city directory for Fremont, Nebraska, but was closely associated with several Omaha theaters. Fremont is located approximately 40 miles northeast of Omaha. In Fremont Fitch was listed as a painter, living with his wife Anna and children at 1619 E. Military Ave.  He continued to work throughout the region, including in his old hometown of Beatrice, 94 miles due south of Fremont. On July 12, 1908, the “Beatrice Daily Sun” reported, “The first step towards reopening the Paddock Opera house was taken yesterday when the management of the block let the contract for new scenery to F. B. Fulton of Omaha, an old Beatrice boy. The contract calls for all new scenery and the remodeling of all stage properties in the latest up-to-date designs. Mr. Fulton stated yesterday that he would put several men to work Monday on the job with the view of having it finished in plenty of time for the reopening of the opera house which will be in the early part of September. It will cost nearly $1,000 to make this improvement, and the fact that the work will be under the supervision of Mr. Fulton is a guarantee that it will be done well, as he has made a specialty of this kind of work for years”

(page 1)

By 1910, Fitch was divided much of his time between Nebraska and Colorado. The 1910 US Federal Census reported that the Fultons were living in Omaha, Nebraska. Fitch was listed as a “scenic artist” in the “studio” industry that year. However, he was also spending an increasing amount of time in Denver and became associated with the Broadway Theatre and the Broadway Scenic Studio. He relocated his family west again where opportunities abounded. On Feb. 27, 1913, the “United Labor Bulletin” (Vo. 7, No. 30, page 2) included an article on Fulton’s western projects.  The article reported, “F. B. Fulton of the Broadway Scenic Studio, has just returned from an extended trip to the Pacific coast. Why he took it is another matter which I will endeavor to explain. The Gypsy Love company played at the Broadway theatre some few weeks ago and they have a scenic studio conducted by Ellis F. Graham as master builder and F. B. Fulton as artist. Their production in the scenic line was in bad shape and Mr. Graham asked if he could rehabilitate it. He immediately put his men to work repairing the frames for the scenery and put Mr. Fulton to work repainting it. The work that the management wished could not be done in the brief engagement they played at the Broadway, but the ability displayed by Mr. Fulton in the work he did while they were playing their engagement at the Broadway, led the manager to make a proposition to the Broadway Scenic Co. to travel with them on their route and whenever there was an opportunity, to finish the job. The answer is that he worked in Salt Lake City, Los Angeles, and wound up in San Francisco, where he finished the job and sent the company on their way rejoicing, with the knowledge that out here in the wild and woolly West they have a scenic studio that embraces all the experience of the East, together with the practical experience of the West. This article is for the purpose of informing the business men and the boosters of the city of Denver that we have the men and the goods in any proposition they advocate to boost the city. AND WE BELIEVE IN HOME INDUSTRY.”

In 1913, Fulton was also hired to design a railroad exhibit for the 1915 Panama-Pacific International Exposition. On April 9, 1915, “The Rifle Telegram” credited Fulton with an achibit at the upcoming Pan-American Exposition in California known as “The Globe”  (Vol. 12, No. 8, page 6). In an article entitled, “The Earth on Exhibit” reported, “The Globe was designed and built by F. B. Fulton, of Denver, who directed the construction of the interior scenes from paintings made by himself. It is quite possible that no other single exhibit in all the stupendous exposition will attract as wide attention or be more heartily praised by visitors, who find they have been instructed while being genuinely entertained.”

The article described the Fulton’s design in detail:

“The exhibit is the production of the transcontinental system embracing the Western Pacific, the Denver & Rio Grande, the Missouri Pacific and the Iron Mountain. It stands on the northwest corner of the palace of transportation, and becomes of even greater interest as one approaches. About it on every hand are the finest examples of the locomotive builder and the car constructor, and these pieces of railroad ‘furniture’ give added point to the unique exhibit which illustrates a great railroad’s function in serving mankind. ‘The Globe’ is 52 feet in diameter; being cut off at the base, is 44 feet in height. The trains are seen traveling from San Francisco over the tracks successively on the Western Pacific, Denver & Rio Grande and Missouri Pacific to St. Louis, whence the Iron Mountain radiates to points in the southern states, and particularly to Hot Springs, Ark. Cities and places of interest are labelled with their names and a light glows at each as the train passes. Yellowstone, Mesa Verde, Rocky Mountain and Yosemite national parks and Great Salt Lake are indicated by squares of soft light. Although a train crosses from San Francisco to St. Louis in three minutes, it is impossible to regard this globe and the suggested activity upon its surface without feeling as never before the splendid achievement of transcontinental railroading and the part it plays in our national life. ‘The Globe,’ which is even more interesting within than without, is entered through ornamental arches. The pilasters are surmounted by strikingly sculptured figures of a prospector, representing mining; a fisherman, representing sports; a farmer, representing agriculture; a blacksmith, representing commerce, and a brakeman, representing transportation. Locomotives in relief appear to be emerging from the pilasters as from tunnels and their smocks drape above the arches to spell the names of the four lines. Car wheels form a border for the arch entrances. In the width of the arch is seen a fragment of ballasted track. The keystone displays a bell, beneath which are the words, ‘Scenic Line of the World.’ Adjoining the globe and forming a part of the roof of the interior exhibit is a reproduction of Marshall Pass in Colorado, the highest point reached by the Denver & Rio Grande. This pass, with an altitude of 10,857 feet, is the continental divide from which streams flow west and east

to the Pacific and Atlantic oceans. In the colorful reproduction Mt. Ouray rises solemnly in the background. The trees and rocks of the foreground being real, the spectator is assisted in getting the ‘feel’ of the ‘backbone of the United States.’ Below Marshall Pass are bas relief panels showing Ruby Canon and scenes on the Feather and Missouri rivers. The interior of this huge globe is so interesting that were the exhibit on the Joy Zone and an admission fee exacted, the never-ending stream of visitors would as eagerly pass through its entrance arches. Within the globe is shown in miniature three million feet of the finest scenery in the world. In passing along a winding fairy causeway one looks first to right and then to left upon the vistas of a partly modeled, partly painted diorama that pictures the scenery and the activities lying along the lines of this railroad system. The effect of viewing these superbly wrought miniatures is difficult to describe. Not only do they acquaint the visitor with what is to be seen on this route, but they make him prouder of being an American. Moving from scene to scene is identical with crossing the continent from west to east. The Panama-Pacific international exposition is shown just as one would observe it from a hilltop a mile away. The succeeding scenes are given in the order in which they occur: San Francisco; Sacramento, the capital of California; Feather River canon, which has made the Western Pacific famous throughout the world; Salt Lake City, Provo valley and Utah lake; Grand Junction, Colorado, with an orchard in the Grand River valley ; Glenwood Springs, the noted resort; Leadville, with its mines and smelters, and Mount Massive in the distance; Royal .Gorge, which has made the name of the Denver & Rio Grande known everywhere that men love to speak of the mighty and beautiful in j nature; the Sky Line drive, showing Canon City and the upper Arkansas river valley, where agriculture alternates with oil wells and gold and coal mines; Pueblo, with the Bessemer Steel works; the Garden of the Gods, with Pike’s Peak in the distance; Denver, the mile high metropolis of the mountain kingdom; the Pike’s Peak region from the Crystal Park auto drive at Artists’ Point, from which the eye takes in seventy miles of territory, including Colorado Springs, Colorado City, Manitou and the Garden of the Gods, San Luis valley in Colorado, showing a 2,000-acre alfalfa field; Sugar City, Kansas, with its beet industry ; the cliff dwellings of Mesa Verde National Park, in southwestern Colorado; Ossowattamie, Kansas, with a 3,000-acre farm and stock ranch; Kansas City, Missouri, with its new capitol building; St. Louis, the eastern terminal of the Missouri Pacific ; Hot Springs, Arkansas, the famous watering place connected with St. Louis by the Iron Mountain line. These scenes are faithful reproductions. They are full of color. They are made with life by the changing play of lights and shadows. There are sunrises, sunsets, night and storm effects. The growing and receding light makes one feel the might and majesty of the mountains.

When the visitor has reached the center of the earth, as it were, he finds himself standing before a softly flashing fountain. The light fades. Finally, the honey-colored moon sends a glow into the chamber. The soft firmament, with its marvelous heavenly bodies may be only a few yards away, but the illusion is perfect. It exactly as though one stood in a garden on a matchless summer night. The visitor is recalled to the actualities by a courteous attendant, who hands him printed matter in which the facts about the country he has been viewing are succinctly set forth.”

Gold and silver medals were award for Fulton’s design and execution of the Gould Railroad Building at the Exposition. On July 8, 1915, “The Oak Creek Times” reported, “Gold Medal for Colorado. The winning of the gold medal by the Globe, the exhibit of the Denver and Rio Grande and other Gould roads at the Panama-Pacific Exposition, while most gratifying to Colorado people is not a surprise to those who are aware of the exceptional ability who guides he publicity and advertising departments of the Denver and Rio Grande. It is inspired by ideas of national scope and appeal; the amount of constructed publicity which the Denver and Rio Grande has produced for Colorado through the carrying power of such ideas is inestimable. In appraising the forces that are working, day in and day out, to build Colorado , the publicity work of the Denver and Rio Grande occupies a place of the first importance. The Globe which won the gold medal at San Francisco was designed by a Denver artist, Fitch B . Fulton, and was built by Denver workmen. A detailed account of the Globe was published in the May 27 issue of ‘The Commercial.’ More than two thousand persons pass through the Globe daily, where are presented most effectively exhibits showing the attractions and resources of Colorado” (page 2).

On July 2, 1915, “The Record Journal of Douglas County” reported, “This unique exhibit, which has attracted so much attention, was designed by a Denver artist, Mr. Fitch B. Fulton. Mr. Fulton is well known to the citizens of Denver by his gigantic horse erected across Champa Street for the Knights Templar Conclave in 1913 and his equally famous elk erected on the occasion of the B.P.O.E. Reunion last year. “The Globe” was not only designed by a Colorado man, but it was constructed by Colorado workmen, who were sent to San Francisco to erect the structure. Within the Globe are twelve models, one bas relief and three mural paintings of Colorado subjects, which have in reality taken the place of the state exhibit, and Colorado visitors refer to it as “our” world’s fair exhibit.” (page 1).

Fulton’s success prompted a move to California in 1916. By 1918, Fulton was listed as a scenic artist in the Los Angeles Directory, working for the Edwin H. Flagg Scenic Co., 1638 Long Beach Ave. Fulton’s WWI draft registration card that year noted his physical appearance as short and stout, with black hair and brown eyes.

In 1920, The Fultons were at 1510 Mohawk Street and the Hurtt’s at 1518 Mohawk Street. That year Fulton partnered with J. D. Martin and Wm. T. Martin to establish the J. D. Martin Scenic Co., Los Angeles.  It was listed in the Incorporations section of “Southwest Builders and Contractors”  on Feb. Feb 1920 (page 30). The notice described J. D. Martin Scenic Co.: “Capital stock, $25,000; subscribed, $3,000; Directors J. D. Martin and Wm. T. Martin, 215 E. 25^th St., and Fitch B. Fulton, 1519 Mohawk St.; Attorney: William Crop, 544 Wesley Roberts Bldg.

The 1920 US Federal Census also listed the Fultons living next to fellow scenic artist Arthur R. Hurtt and his wife Winnifred (58 and 55 yrs. old, respectively). This is another Chicago connection. Much older than Fulton, Hurtt was a very well-respected scenic artist, who shared the same Midwestern connections. Here is a little context for Hurtt from the nineteenth-century to give some context for this veteran artist over three decades later. On February 19, 1888, Hurtt was mentioned with several other well-known scenic artists in an article entitled “Stage and Scenery,” published in “The Saint Paul Globe” of St. Paul, Minnesota (page 10). In the section, “LOCAL AND GENERAL TALENT,” 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.” In 1891, Arthur Hurtt assisted William P. Davis in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. Previously known as the Bijous Theatre, 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). Hurtt was a big deal.

In 1922, the Fultons were living at 1545 Columbia in Glendale, California. That year he was credited with painting a landscape for California’s Pageant of Progress and Industrial Exposition.  On September 4, 1922, the “Los Angeles Times” reported, “Camping styles for maid who crave to trade their skirts for knickers and steal away with rod and gun to fish and hunt have become distinctly a Los Angeles product. The best examples of this young Diana styles are on display at one of the most unique and effectively decorated booths on the exposition grounds. The Army and Navy camp shows a mountain woodland scene with a scenic background painted by Fitch B. Fulton, who received a gold medal at the Panama Pacific Exposition for the Gould Railway exhibit. He is a member of the California Art Club.” In 1922 Fulton’s stage settings for “La Golondrina (The Swallow)” at the playhouse in San Gabriel were also a hit. Throughout the 1920s, Fulton continued to primarily work as a scenic artist and designer, primarily focusing staged spectacles.

Throughout the 1920s, Fulton became increasing active in fine art shows. In 1923, he exhibited with the California Watercolor Society and on January 7 the “Los Angeles Times” reported, “Fitch Fulton’s ‘Wedding Dream’ is remarkably decorative in composition and color, it is permeated with delicate and refined beauty, it is a painted Epithalamium.” By 1925, some of Fulton’s painting were included in the first exhibition of the Artland Artists­­. On Nov. 1, 1925, the “Daily News” listed “Soboba Sycamore” by Fitch B. Fulton as one of the oil paintings on display (page 33). In 1926, Fulton’s artworks were part of the third exhibit of paintings by the Los Angeles Art Club (“Los Angeles Evening Express,” 3 September, 1926, page 17). That year, he also was the president of the Painter and Sculptors Club in Los Angeles. He continued to exhibit artworks whenever he could, but held off on a one-man exhibit until 1951. On April 29, 1951, the “Los Angeles Times” announced “Fitch Fulton Impresses.” (page 14). The article reported, “Fitch Fulton, now 62, has long been known here as a good landscape painter. Until his recent retirement from work for motion pictures, however, he was always too busy to prepare an exhibit. So, at 62 Fulton has his first one-man show. It consists of small oil landscapes, very sensitively recording things see by a poetic eye. This exhibit is on until May 7 at the Little Gallery, 626 N. Glendale Ave.” Here is a link to several of Fulton’s paintings now posted at invaluable: https://www.invaluable.com/artist/fulton-fitch-burt-h4a0zuidji/sold-at-auction-prices/

All the while, he kept working as a scenic artist, completing projects for a variety of studios and under his own name. The obituary of his father, J. B. Fulton, also provides a little insight into the Fulton family and suggests a possible falling out between Fitch and his father. On July 1, 1924, the “Beatrice Daily Sun” reported that J. B. Fulton was remembered as a pioneer physician, a native of Hillsboro, Ohio, who practiced medicine in Fairbury and Hammond, Illinois. By the end of the nineteenth-century. J. B. Fulton established Beatrice bloodhound kennels and shipped pedigree bloodhounds to all parts of the country, with his dogs winning prizes in Chicago, Kansas City and elsewhere. His obituary noted that he was survived by daughters: Mrs. W. W. Johnston [daughter Margaret] of Omaha; Mrs. Belle [Mary Belle] Burt of Los Angeles; Mrs. Hattie Samman of Boston, and sons O. P. [Oliver]; T.B. [Thomas], W.S. [William] and R.N. [Richard] of Beatrice, Nebraska. Fitch was not mentioned in the obituary at all, although he was alive and well in California. I have to wonder if he was estranged from his father during this time, or had a falling out with his family.

It was right around the time of his father’s passing that Fitch began working for Sosman & Landis. Between 1924 and 1925, Thomas G. Moses, Fitch B. Fulton and Harry E. Naile delivered scenery to several Masonic theaters. In 1924, Thomas G. Moses wrote, “Met Fulton at Denver and were soon on our way to San Jose.  Arriving in San Francisco, we soon reached the 3rd Street Station just in time to catch a train for San Jose…It took us eight days to close a $7,000.00 contract.”

Moses was working closely with Fitch Fulton to land several Scottish Rite contracts that year. In addition to San Jose, California, their projects included Scottish Rite scenery for Fort Scott, Kansas and Pasadena, California. The Pasadena Scottish Rite project began on the heels of the Fort Scott Scottish Rite project, but it all started with Fort Scott, Kansas.

In August 1924, Moses wrote, “Fulton is now in Fort Scott getting ready for our big work. I bought a round trip ticket for a long western trip and started on the 16th of August arriving in Fort Scott on the 17th. Put in one day with Fulton, leaving on the 19th.”

Fulton was on site setting up the paint space in the theater and was already painting when Moses arrived for a day in Fort Scott. The two worked on a platform twenty-feet above the stage-left side of the theater. The project would be completed in spits and spurts that year.

After leaving Fort Scott and stopping in Salt Lake City, Moses arrived in Los Angeles on the afternoon of the August 22. He wrote, “Got busy immediately at Pasadena for ten days. As a final deal, I offered the Little Rock drops for $8,500.00, closed the deal and at Los Angeles for a big interior for the Consistory.”

So, while Fulton began the Fort Scott job, Moses landed the Pasadena job.

Moses returned to the Fort Scott Project that fall, finished the work with Fulton, and then headed back to Chicago. By November 1924, Moses wrote, “I must get back to Pasadena as they want to open on the 24th of February, so we put the house in perfect shape for cold weather and got our tickets via the D.R.G. through Colorado. Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we reached the 3rd Street Station just in time to catch a train for San Jose. Went to the Vendome Hotel and Mrs. Fulton came up. It took us eight days to close a $7,000.00 contract and get to Los Angeles where we spent two days, finally securing a fine apartment at the 159 S. Los Robles Avenue in Pasadena, where we will remain for two months. Had a delightful Christmas day at Walters.”

During this time, the Moses and Fultons became incredibly close. At the end of 1924, Moses wrote, “The last Sunday in the year we spent at the Fultons, where we enjoyed the day.  As I had hoped a year ago, we are spending the winter in California and so far, we have thoroughly enjoyed it, as we have many winters in the past. “Even when Moses and Fulton weren’t painting scenery, they enjoyed social gatherings and sketching trips. The two were a generation apart, with Fulton in his 40s and Moses in his 60s. Both were skilled artists and greatly enjoyed plein air painting. Of one excursion, Moses wrote, “Walter, Fulton and I went out for a day’s sketching at Sycamore Rock near Eagle Rock.  We had plenty of visitors.  I found a vast difference between the far east and California as far as atmosphere is concerned.  So, I was not as successful with my sketches as I had hoped to be.”

Later in 1925, Moses wrote, “We all enjoyed the many week-end trips, we took with wonderful lunches and good sketching grounds.  Mrs. Fulton looked after the eats and she certainly did not overlook anything, as we were overfed and did not feel like sketching after the meal.  We found some very good sketching down in Topanga Canyon, over towards Santa Monica and Flint Cliff.  I would like to make an extended sketching trip out here, but I am very much afraid I will never be able to, as business will keep me from it as it has always done in the past.  It has been very pleasant out of doors.  Some days the sun was so hot that we had to get under a tree – pretty good for January.”

Moses and Fulton planned on preparing the used Little Rock scenery for installation and painting a few new scenes for the Pasadena Scottish Rite. In regard to the San Jose Scottish Rite…the groundbreaking ceremony for the San Jose Scottish Rite was announced in the “Salina Daily Index” on Feb. 20, 1924. The article reported, “Work on Scottish Rite Temple Progressing Rapidly.” The construction went quicker than the contract negotiations. Like most Scottish Rites at this time, discussions were drawn out until the last possible moment. This never worked well for either the scenic studio or client. In the end it everything was rushed through, greatly taking its toll on the artists and installers.  

In 1925 that Moses recorded, “We finally received out contract back from San Jose after they had it a month, which settled the matter of our going there immediately after we completed Pasadena.” The San Jose Scottish Rite was scheduled to open at the beginning of May. That spring, Moses wrote, “I started for San Jose on March 27th and found Naile had everything in good shape.  Fulton and I got busy immediately, got a good start and pounded away pretty steadily until April 18th”.  It was at this point, however, that Moses was rushed to hospital by Dr. Moore and Fulton. He wrote, “All through my illness, I had to keep work going and had to ask the Madam to see that the salaries were paid and the work at the Consistory did not stop.  It was opened on time and we were through on April 27th, a few days before my second operation.” Moses’ second operation was on May 1, 1925, with him recovering at the hospital all month. He was not released until May 30. Fulton held down the fort for Moses during his absence.

The San Jose Scottish Rite Temple opened on May 8, 1925. On May 10, 1925, the “Oakland Tribune” announced, “Masons Dedicate San Jose Home.” The article reported, “Formal dedication of the new $450,000 San Jose Scottish Rite Temple was made last evening with Sovereign Grand Commander J. H. Cowles, highest ranking Mason in the United States, as guest of honor. The dedication ceremony followed a banquet in honor of Cowles and Sovereign Grand Inspector W. P. Filmer. Scottish Rite Masons and their ladies only were in attendance, and the big new temple at Third and St. James streets was packed to capacity for the rites.”  

By 1926, Fulton returned to primarily working at J. D. Martin Studios in Hollywood. In 1927, Fulton was credited with the scenic design for the “Devil’s Plum Tree” with J. D. Martin Studios executing Fulton’s designs. By the 1930s, Fulton transitioned to working more with visual effects for film.   The IMDb credits Fitch Fulton as a matte painter for “The Enchanted Cottage” (1945),  “Citizen Kane” (1941), and “Gone with the Wind” (1939). Fulton was also listed as technical staff for “Mighty Joe Young” (1949), credited with special effects for the film. Again, this is no surprise, as Fulton was intimately familiar with engineering special effects for the stage.

The 1930 US Federal Census listed Fulton as an artist in the “theatrical” industry, living with his wife and daughter. At the time, Bernice Fulton was working as a high school teacher. After she attended public schools in Glendale, Bernice graduated from U.C.L.A. and continued her art education in Europe. She married in 1932, the “San Bernardino Country Sun” reported, “Miss Fulton has been a teacher in the art department of the Belmont high school, Los Angeles, for five years, being a graduate of U. C. L. A. and also studies in Europe. Her father was the artist painting the curtain in the municipal auditorium in San Bernardino.” That year, Fitch and his wife were living at 1545 Columbia, with Fulton still listed as an artist in the “Glendale City Directory.”

In 1935, Fulton was recognized at the Palos Verdes Art Gallery, receiving a purchase prize. Throughout the late-1930s. Fulton’s easel art continued to gain recognition. In 1938 and 1941, he received gold medals from the Painters & Sculptors Club of Los Angeles. Fulton is also included in Eda M. Hughes publication, “Artists in California, 1786-1940.”

The 1940 US Federal Census listed Fitch and Anna Fulton living in Los Angles, with Fitch listed as an artist in the “studio” industry.  Fulton’s WWII Draft Registration card listed his employer as David O. Selznick of Culver City, California. By now, Fulton’s son, John Fulton, was listed as the person who would always know is address. During this time, John Fulton was employed at Universal Picture Corp. in Los Angeles, California.

In 1941, Fitch’s wife Anna passed away. On April 7, 1941, their hometown newspaper reported, “A message was received here yesterday announcing the death of Mrs. F. B. Fulton, formerly of Beatrice, which occurred at Glendale, Calif., where she had resided since leaving this city. She has been in failing health for a year or more. Surviving are her husband, who has long been connected with the scenic department of the movie colony in Hollywood, one son John, who is also with the movies as a production representative and a daughter, Bernice” (Beatrice Daily Sun, page 1).

Fulton remarried the next year. In May 1942, he wedded to Mary Ann “Mamie” Davlin (1890-1994). Mary is quite interesting in her own right, as she was purportedly the first woman in the United States and Canada to become a freight router. Mamie was the daughter of Henry Davlin and Jennie Evans. A native of Plankington, South Dakota, she spent most of her adult life in Los Angeles, where she attended Heald Business College. This was Mary’s second marriage too; her first husband was Frank Lawrence Pitney. Mary also had a son from her first marriage named Oliver Pitney.  

Fitch Fulton passed away on Feb. 23, 1955 in Glendale, California and is buried at Mission Hills, Los Angeles, California. His obituary was published in the “Los Angeles Times” on Feb. 25, 1955. It announced:

“Fitch B. Fulton. Rosary for Fitch B. Fulton. 75, who died Wednesday at his home, 5128 Glenwood Ave., La Crecenta, will be recited at 8 p.m. Sunday at the Crippin Mortuary in Verdungo City. Requiem Mass will be celebrated at 10 a.m. Monday at the Holy Redeemer Church, Montrose. Interment will follow in San Fernando Mission Cemetery. Mr. Fulton, who first came to California in 1913, was a designer and artist. He leaves his widow Mary; a daughter Mrs. Krutchfield Ahair, Santa Barbara; a son, John P. Fulton, North Hollywood, and four grandchildren” (page 36).

His second wife Mary long out lived Fitch, passing away in 1995 at the age of 104. Mary was buried next to her husband in San Fernando Mission Cemetery. Fulton was one of the few not to be buried in the family plot in Beatrice.

Today, Fulton is primarily associated with one particular painting – his matte painting of Tara from “Gone With the Wind.” Measuring 36 inches by 31.5 inches, it was used under the films’ opening credits. In 2013, CBS reported on a Hollywood Memorabilia Auction, where Fulton’s painting was sold for $225,000. (https://www.cbsnews.com/pictures/hollywood-memorabilia-auction/). The 2010 sale price was $32,500: https://www.icollector.com/Original-Fitch-Fulton-master-painting-of-Tara-from-Gone-With-the-Wind_i10030554.

Fulton originally gifted the painting to his son, John P. Fulton, inscribing on the lower right corner, “To John from Dad.” His son John P. Fulton ended up in special effects for the motion picture industry, starting out as a cameraman. As previously mentioned, John P. Fulton was also active in the film industry. Much has been written about John’s contribution to cinematic effects. By the 1940s, John worked for Universal Pictures Corp. “The Wild and Wonderful World of John P. Fulton. A Look back at the magical creations and unforgettable visual effects of virtuoso special effects master John P. Fulton, A.S.C.”: http://nzpetesmatteshot.blogspot.com/2010/08/wild-and-wonderful-world-of-john.html. Sadly, John passed away only a decade after his father. In 1965, he contracted a rare infection while working on a film in Madrid, Spain (“The Battle of Britain”), and passed away in an English hospital.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Today’s Sosman & Landis employee, Julian Greer, took quite some time to track down. It is a long post, as there is so much misinformation about Greer’s acting career posted to various sites online, including the IMBD. Hopefully this will help connect the dots for some folks. Although Julian Greer was celebrated as an English actor when he passed in 1928, his career in the theatre began as that of a Midwestern paint boy to Thomas G. Moses in Sterling, Illinois. Greer later became known as an English artist, but his backstory was really constructed when he changed his name from John Julian Greer to Julian Greer in the 1880s. This post is quite long, but Greer really intrigues me. Its length continued to grow as I uncovered one fascinating tidbit after another regarding the life and career of stage actor, author, film star, and theatrical manager, Julian Greer.

John “Julian” Greer began working as a paint boy for Thomas G. Moses in 1878 and worked at Sosman & Landis in the very beginning of the firm. His passion, however, was in acting. In 1906, Greer returned to Sosman & Landis for a brief visit. That year, Moses recorded, “Julian Greer, one of the old paint boys, now an actor, author and manager, visited us for the first time in many years.”

Both Moses and Greer grew up in the small town of Sterling, Illinois, located 116 miles due west of Chicago. When Greer was only 16 yrs. old, he assisted Moses in painting stock scenery for the Academy of Music in Sterling. Unbelievably, the Academy of Music project was remembered in 1961 by local historian Mrs. Orville Wallace. An article describing Wallace’s research was published in “The Sterling Gazette” and entitled, “Club Woman Recalls Sterling Artists and Their Talents” (March 9, page 15). That spring Wallace compiled an account of past Sterling artists and presented her findings at the Sterling Women’s Club meeting in March.  The article included a section with the heading “By Thomas Moses” –

“The work that I did at the Academy of Music lasted a long time. My assistant on the job was Julian Greer, who was very ambitious to become an actor, and he succeeded. His father was a plasterer in the old home town and made some ornamental cement garden benches. I enjoy going back and reviewing the finish of the many paint boys who I started in the wild career of an artist.” It was Moses’ mention of ornamental garden benches that helped me track down the life and career of Joseph A. Greer and his son, John Julian Greer.

Mrs. Wallace provided additional details pertaining to Academy of Music project in the article too, reminiscing:

“The Academy of Music must have been built about 1878, and it was considered the finest opera house west of Chicago. There were two young artists living here at the time by the name of Moses. These boys were given the assignment to paint the big backdrop and I imagine the stage settings too, for this new play house. What a thrill it must have been because I recall the impression it made on me when I was a little fairy or chorus girl of sitting in the dress circle watching Little Red Riding Hood. I think of the woodland scene. These Moses boys left Sterling and went to Chicago to become Lithographers.” She was wrong about the artists being related, Tom Moses was the only son in the Moses family to paint for the stage.

The two young boys were actually Tom Moses and John Julian Greer, ages twenty-two and sixteen, respectively. They not only painted scenery, but completed much of the plaster painting throughout the building that year. Julian was likely selected as an assistant, since the Greer family business was in plaster, artificial stone, and other decorative stone work.

Moses recorded the project in his 1878 diary, writing, “In February I started on the decoration in the stores under the Academy of Music.  The dark clouds that had hovered over me for two years now began to show their silver lining, the decoration and scenery for the Academy of Music was a good contract, and it was awarded to me in spite of a good knock that I got from my Father.  He informed one of the owners, Mr. Tracy, that I was too young for such a big job.  Mr. Tracy informed him that he had full confidence in my ability to do the work.” Moses exceeded all expectations of Mr. Tracy. On April 27, 1878, the “Sterling Gazette” reported, “Greer and Tom Moses are doing some of the finest work in the plastering and fresco line in the Academy of Music that has ever been done in the city. The free library room will be as finely finished as any rooms in Northern Illinois. It is not time to see them now as the work is but partially done, and but little idea of the completed work can be gained; but in a couple of weeks the whole can probably be seen” (page 5). This misprint is why Wallace though that that two boys were named Greer Moses and Tom Moses, not John Julian Greer and Tom Moses.

At the time, Moses was single and boarding in town at a friend’s house. Of the lodging, Moses wrote, “I was staying with my friends, Will Tuller, until Will’s mother had so many relatives drop in for a visit that I felt I was intruding, so I went to the Galt House.” This move is what brought Moses in closer contact with the Greer family. Joseph A. Greer’s business was located at the northwest corner of Galt House in Sterling.

When the Academy of Music opened to the public that fall, the “Sterling Gazette” described the scenery in a lengthy article published on Saturday. Nov. 30, 1878 (page 8). The article reported, “There are ten full sets of scenery, including parlor, chamber and kitchen scenes; a river, sea, street, woods, prison, landscape and garden scenes comprise list of scenery. They were painted by our townsman, T. G. Moses, and we need not tell those familiar with his work, that they are finely done. The work along will give him a reputation as a scenic artist everywhere that it is known. That everything about the stage might be perfect, Messrs. Galt and Tracy brought from Chicago Robert McLeod, for twenty-five years stage carpenter for McVicker, to put up the stage. It is perfect. The whole is lighted by three sets of boarder lights, each having fifteen burners, and the footlights of twenty-five burners. The brilliant effect of these is a wonder. The drop curtain represents a scene near Amsterdam; a palace being in the foreground with sea view at the right, and in the middle distance with a distant view of a city, Like the rest of the stage work it is finely painted.” Moses got his start as a scenic artist decorator in Chicago under the tutelage of Louis Malmsha at both McVicker’s Theatre and P. M. Almini & Co. in Chicago.

In regard to the Academy of Music project, the “Sterling Gazette” also praised Moses’ decorative painting, especially the ornamentation in the auditorium hall and the fresco work in throughout the first floor.

The success of Moses’ work at the Academy of Music helped smooth tensions with his father, with Moses later writing, “The work at the Academy put me on the list, and Father heard so much praise of my work, that he finally weakened, and we called the old score off and ‘we lived happily ever after.’” As little theatre work was available in Sterling, however, Moses primarily worked as a decorative painter in the area, traveling from one neighboring town to the next. A series of small painting projects in 1878 helped Moses’ finance his first home and marriage to Ella Robbins. The couple was married on October 31, 1878, just shortly before the Academy of Music opened its doors to the public.

Other work completed by Moses and his assistant was in Tampico, Illinois, located approximately 14 miles southwest of Sterling.  Of the project, Moses wrote, “I decorated the church at Tampico, Illinois, that had been built on the same foundation from which another building had been blown by a terrific tornado.  The hotel where I boarded had been cut in half by the tornado, rebuilt and every time the sky became yellow, and a stifling heat presented itself, everyone would prepare for the cyclone cellar built in the yard.  One night I was awakened and informed of an approaching storm.  I tried to awake my assistant.  He didn’t care and said so.  I tried to drag him out of bed.  I left him and went to the cyclone cellar.  After waiting until after 12 o’clock, we heard the storm passing a mile East of us.  My assistant laughed at us for the trouble we had taken.”  Ironically, even the town’s newspaper was called, “The Tampico Tornado.”

The two continued working together until Moses relocated to Chicago and began working for Sosman & Landis. Greer likely followed Moses shortly thereafter, although I have yet to track down the specific. Regardless, Greer continued to work as a paint boy during the early days of the firm. Here is the life and career of John “Julian” Greer.

John Julian Greer was born in Bruce, Ontario, Canada, in 1862. He was the second of four children born to Joseph Andrew Greer (1839-1883) and Isabella Murray (1841-1918). The birth of each child tracks the family’s journey from Nova Scotia to Illinois between 1859 and 1872. Their oldest daughter was born out of wedlock, on October 8, 1859. Catherine “Kate” Eva Greer (1859-1945) was born in Nova Scotia, exactly a month before her parent’s wedding on November 8, 1859 in Port Elgin, Bruce County, Ontario. The 1861 Canadian Census listed Joseph Greer as a plasterer, living with his wife and young daughter in Bruce County, Ontario. The couple’s second child, John Julian Greer, was also born there, named after his maternal grandfather John Murray (b. 1806). Sometime between 1862 and 1866, the Greer family moved to the US.  His younger brother George M. Greer was born in Pennsylvania in 1866, and by 1870, the Greer family was living in Iowa. In Dubuque, Iowa, the Greer’s welcomed the birth of their fourth, and final, child in 1872. In the 1870s, Isabella’s brother, Hugh Murray (1846-1915) sporadically lived with the Greer family. He worked as a stone mason.

By the time the Greer family moved to Sterling, Illinois, Joseph Greer began specializing in artificial stone. He partnered with Peter O’Hair to establish Greer & O’Hair in the city. Their firm specialized in the manufacture and sale of decorative stone, especially a new artificial version patented by the two in 1878. 

Their partnership ended in 1879, with a notice of dissolution published in the “Sterling Daily Gazette” on April 22. Greer continued in the same line of business, however, and went on to establish J. A. Greer & Co. The company even built a manufacturing plant for artificial stone works in Genesco, Illinois, located 48 miles southwest of Sterling.

By 1880, Julian was no longer living with his parents, most likely working in with Moses at Sosman & Landis in Chicago. Moses relocated to Chicago after completing his final decorating project for the Presbyterian Church in Dixon, Illinois, located 13 miles northeast of Sterling.  When Tom and Ella Moses moved to Chicago, they initially stayed with their friend Will Tuller at O. W. Young’s boarding house, located at 438 West Van Buren Street. It is important to note that Moses ties to close friends continued over the years; he had previously stayed with Will Tuller’s family in Sterling during the Academy of Music project.  In Chicago, Moses began working at Sosman & Landis during the spring of 1880. Shortly after staring with the firm, Moses recorded, “As the business increased, we put on a paint boy. “ Although not identified by name, I believe that this paint boy was actually Greer, as it coincides with other records at the time.

The 1880 US Federal Census also did not include John Julian Greer at the family home in Sterling. The Greer household only included Joseph (40), Isabella (39), Katie (19), George (14) and Willie (8). In 1880 the Greer family was living at 129 Market St. in Sterling. Joseph  was still working in the artificial stone industry and actively advertising in local papers. On March 3, 1880, J. A. Greer placed the following advertisement in the “Sterling Standard” -:

“J. A. Greer, Manufacturer of all kinds of Plaster Center Pieces. – bracket – Cornice Enrichment &c. Shop, northwest corner of Galt House, Sterling. Remember, I can put on a center piece cheaper than the article can be bought in Chicago” (page 6).

The Greer family headed south the following year. In 1881, Joseph A. Greer was listed in the “Kansas City Directory,” still working in the artificial stone industry and living at 620 Tracy Ave. John Julian had continued as an artist and was now working as an engraver at Ramsey, Millett & Hudson. By 1882, the Greers were living in Galveston, where patriarch “J. A. Greer” advertised in the city directory as a “Manufacturer of Greer’s Patent Stone Window Caps, Keys Sills, Floor Tile, Cemetery Work, Lawn and Garden Ornaments.” The listing for Joseph A. Greer specified “Manuf’r Greer’s Artificial Stone, works and office ss Ave A bet 21^st and 22^nd, r 809 Market bet and 9^th.”  Sometime between 1882 and 1883 the family relocated to San Antonio where Greer continued his business.

By 1883, J. A. Greer had established the Greer Stone Company in San Antonio. Sadly, Julian’s father passed away on Jan. 29 1883. On Feb 13, 1883, the “Sterling Evening Gazette” reported “Appropriate memorial resolutions were passed last evening by the AOUW lodge No. 148, in honor of the late Mr. Joseph Greer, who was formerly a citizen of Sterling, and who died about February 1, in Texas. He family received $2,000 from the order” (page 4). In 1883, Isabella Greer was listed in the San Antonio Directory as the widow of J. A. Greer, living at 519 Ave B on the corner of 10^th.  Her sons, John J. and George M. were also living with her, now each working in the area. George M. Greer, Robert Fitzsimmons and John F. Williams ran Greer Stone Co. The firm’s listing in the city directory noted, “mfrs Greer’s patent artificial stone, burial vaults, caps, lawn and garden ornaments, 220 N. Flores.”  Meanwhile, John J. was briefly listed as a civil engineer.

Shortly after Joseph Greer’s passing the family split apart. His mother, Isabella Greer moved to Los Angeles, California and bought her first home by 1886. Within less than a decade Isabelle had acquired quite a bit of land in Chicago Park, including lots 2183 to 2187.

Meanwhile, John Julian Greer entered the theatre profession as an actor.  He reinvented himself, and John Julian Greer began going by his middle name, Julian. At this time, Julian Greer passed himself off as an actor from England. Over the years, even his birth date would change from 1862 to 1866 and then 1871. Interestingly, it is 1871 that appears on his tombstone when he died in 1928, so solid was his alias.

Whether the shift in birthyears was intentional or a typographical error remains uncertain, yet it was always the same person; historical records share the same names of wife, mother and brother. It is no mere coincidence and I have to wonder if Greer was a bit con man.

As an actor, Julian Greer met his future wife, Ida Florida Sollee (1864-1923) in the late 1880s. In 1888 the two were touring with a production throughout the south after Greer had made a name for himself at Wallack’s Theatre in New York. On May 27, 1888, the “Savannah Morning News” mentioned Julian as performer in “The Week’s Entertainment.” A notice announced, “The sale of reserved seats for ‘Leah the Forsaken,’ to be given at the Theatre Tuesday night, will open at Davis Bros., tomorrow morning. Miss Sollee will appear in the title role of the play, and she will be supported by Mr. Julian Greer, recently with Mr. John S. Clarke, and Miss Deland of Wallack’s theater New York…” (page 9). Greer eventually married Sollee on June 10, 1890, in Asbury Park, Monmouth County, New Jersey. On June 23, 1891, “The Los Angeles Times” reported, “GREER-SOLEE. One the evening of the 10^th of June, in the Church of the Holy Trinity, (Episcopal) New York City, Mr. Julian Greer and Miss Ida F. Solee [sic.] were united in marriage. The bride is a young lady possessing grace, beauty and many accomplishments, is an artist in her chosen profession, and is now leading lady of John Dillon’s company. The groom is an actor of ability and associated with Charles Frohman’s company. The mother of the groom lives in Los Angeles, and her many friends join her in wishing the young couple much happiness and a long life” (page 3). Despite marriage, Sollee continued to use her maiden name as a performer, also listing herself as single in census reports. By 1891, the couple’s primary residence was in New York, but they continued to tour as performers for a short period of time.

Sollee is a bit of an interesting character herself. She was the eldest daughter of Francis Carrera Sollee (1834-1907) and Rebecca Louisa Hopkins (1837-1922). The eldest of nine children born to the couple. The Sollee family initially lived in New Braunfels, Texas, in 1870, with “Frank” Sollee working as a steamboat captain. The Sollee family relocated to Jacksonville, Florida by 1880. Ida F. Sollee purportedly formed her own company at the tender age of 18 yrs. old in 1886, yet she was actually twenty years old at the time. On Nov. 7, 1886, the “St. Louis Globe-Democrat” reported, Miss Ida F. Sollee is determined to be a star. She has organized a company and will make her debut at her home, Jacksonville, Fla., on her 18^th birthday, December 16, as Juliet. She will then ‘do’ thou south” (page 11). Sollee did “do” the south and became quite popular with both performers and newspaper men alike. She has a brilliant marketing plan in the beginning.

In 1888 Greer and Sollee were credited with playing Romeo and Juliet for a local benefit in Savannah, Georgia. Their appearance was briefly mentioned in “The Macon Telegraph,” on June 4, 1888, (page 8).

On October 12, 1890, “The San Francisco Examiner” reported, “Miss Ida Sollee, a talented young Southern girl, who has appeared for the first time on this Coast last season with Rhea, has had wonderful success as Hester Malyon in ‘The Fugitive,’ now on the eastern boards…Miss Sollee has many friends in this city and Oakland where she spent her vacation last summer” (page 9). Ida did quite well at this time and toured with several productions. Unfortunately, her career began to faulter after her marriage and Sollee no longer remained in starring roles very long after her marriage.  Something went on between the two that caused a rift, eventually ending Sollee’s career.

On Sept. 23, 1890, “The Philadelphia Times” reported that Greer played the romantic lead of John Levett, in “The Fugitive” at Forepaugh’s Theatre. Described as “the manly lover,” Greer played opposite of Sollee. Of Greer’s performance, “The Kansas City Times” reported, “Mr. Julian Greer, who sustains the part of the fugitive, is said to be a clever and conscientious actor who, though only a brief time in this country, has gained a metropolitan English reputation.” By this time, Greer was consistently passing himself off as an Englishman, effectively erasing any ties of his family or Midwestern background.

The “The Philadelphia Times” article also described Sollee’s work as an actress, adding, “Miss Ida Sollee, who assumes the role of the heroine, was leading lady last season with Rhea, and has also appeared with Bandman and with Lewis Morrison in ‘Faust.’ In ’The Great Metropolis’ she was a prime favorite in San Francisco.” It is also little ironic that Julian played the part of a fugitive, as well as a little foreshadowing. In 1896 Greer became a fugitive after a scandalous affair and left the country. The 1891 production of “The Fugitive” also appears to be the last production that Greer and his wife appeared in together.

That year, Julian Greer was living in New York and listed in the City Directory  as an actor, residing at 134 W. 129^th St. He was part of the Twelfth Night Club, and was mentioned as performing for the entertainment of the Club’s membership at the Lyceum Theatre that spring. On May 8, 1891, the Evening World” reported on the event, commenting “The next feature of the programme was Jerome K. Jerome’s adaptation of Francis Coppee’s ’The Violin Maker,’ in which Thomas Wise, Effie Shannon, Julian Greer and Frederic Bond took part” (page 5).

In 1891, Greer was also performing in Charles’ Frohman’s production of “All the Comforts of Home.” Meanwhile, his wife was performing with the John Dillon Company in “Wanted the Earth” (“The Kearney Daily Hub, 6 May 1891, page 3). Their careers continued to divide, accelerating on two separate paths.  On July 18, 1891, “The Record-Union” in Sacramento, California announced, “Julian Greer is to appear again next season in one of Charles Frohman’s companies, but his wife, Ida F. Sollee is still disengaged” (page 6). Sollee was eventually cast in Martin & Booker’s “The Harvest Moon,” starring Harry Booker and Miss Louise Rial. The two toured independently of each other.

1892 became a turning point for their marriage and respective careers. That year Greer began experiencing health problems after appearing in “Men and Women” at the Grand Opera House that February. By April 28, 1892, the “Los Angeles Evening Express” reported, “Julian Greer sailed for Carlsbad Hot Springs, Germany, on the 21^st. He hopes to be restored to health soon enough to return before winter”  (page 4). Greer was listed as an outgoing passenger to Ireland that May, listed as a 26 yrs. old actor. He returned on June 6, 1892. His name did not make headlines again for the remainder of the year. That fall his wife toured with “The Froth of Society.”  The show toured the entire season, ending during the spring of 1893. By the summer of 1893 newspapers across the country reported that Sollee was engaged to play juvenile with “The Danger Signal” (Topeka Daily Capital, 19 Aug., 1893, page 2). She continued to plug along in her profession.

Meanwhile, in 1893 Greer gradually returned to acting early in the year, first participating in a benefit performance held at the Standard Theatre in New York. On Jan. 15, 1893, “The Brooklyn Daily Eagle” reported Greer performing in “Drayton Hall,” advertised as “a spirited war drama written by Southern dramatist Alexander Hume Ford.” Greer then became associated with the Florence company and performed in “The Old Love and New” that spring.

Greer and Sollee continued to live separated lives, each focusing on their respective careers. By 1894, Sollee was touring with Eugene Robinson’s Company in their production of “Paul Kauvar.” The show starred John W. Barry, as Marquis de Vaux and aliases, with Sollee playing the role of Nanetta Potin, the wife of Rudolph, played by John W. Rose. She was still touring with the production the next season, her name making newspapers throughout 1895. Between 1894 and 1895, Greer performed with in a variety of shows and benefit performances, including in a series of Shakespearean productions starring Miss Martha Ford, “The Laughing Girl,” and “Rosedale.” While his wife was on tour, Greer primarily worked in New York and increasingly became part of social events. This is where the trouble began for Greer.

By 1896, Greer was part of a high-society scandal, accused of having an affair with Mrs. William Frederick Holcombe, the young wife of an elderly New York physician.  Articles across the country described the “most beautiful woman and successful heiress in Madison Square” and her love interest “John Greer, an artistic and literary man of no little name.” When the story broke, newspapers reported, “Mrs. Holcombe is now in Europe, and it is said that Mr. Greer has gone thither too. At any rate the artist has left his former domicile in Winchester, as No. 120 Broadway, and none of the men in his set were seen at various clubs last night was able to say that he was in town” (“Wheeling Register,” June 17, 1896, page 5). The article went on to explain that Mrs. Holcomb’s name was coupled with Mr. Greer, describing:

“Sometime in March, it is said, they were walking along West Forty-Seventh street, between Fifth avenue and Broadway, when Mr. Greer fell to the sidewalk, rendered unconscious by an attack of heart trouble. He was carried toa small hotel nearby  and was confined to his room for a week. Mrs. Holcombe, it is stated, visited him every day.”  Dr. Holcombe’s search for Greer was described in detail in the section “Doctor Hunted For Artist.” It reported, “The manager of the Winchester, where Mr. Greer lived  prior to his departure from the city, said last evening that Mr. Greer had told him he was going to California – at least, he thought so, but couldn’t be sure Mr. Greer had not said Europe. He was inclined to believe that Mr. Greer’s departure might have had something to do with the Holcombs, for he remembered, he said, that Dr. Holcomb had visited the Winchester frequently, in hope of finding Mr. Greer. The venerable physician always seemed terribly angry when he called, the manager said. “He used to ask all the tenants if they had seen a dark, handsome woman entering the building with Mr. Greer,” said the manager. Then he would add, “She’s my wife.” He gave everybody to understand that if he came across Mr. Greer is would be bad for that gentleman. Maybe it would – the doctor looked like a hard hitter.”

The article included a portrait of Mrs. Holcombe and reported, “According to Dr. Holcombe it is a case of December and May. He is a handsome old man of venerable appearance. Mrs. Holcombe is a beauty of a striking brunette type, about medium height and well on the sunny side of thirty. She has been a leader in society almost from the year of her debut. Her evenings were very popular, especially among the literary and artistic sets. Though more than forty years you ger than Dr. Holcomb, he is her third husband. This seems difficult of belief upon looking at her delicate, girlish features, for she looks to be less than twenty years of age. Her husband blames her beauty and her popularity with a certain clique of the literary troubles.” 

I find it fascinating that physical description of Mrs. Holcomb and Ida F. Sollee are very similar, both brunette beauties that captivated men wherever they went

By the fall of 1896, Greer was living in London, now associated with the Comedy Theatre. He advertised for talent in the London “Era” – “Wanted, juvenile Lady, to look Sixteen; Juvenile light comedian, two young Lady dancers, for minuet. Address, with photo and exact age and height, Julian Greer, 264, Vauxhall-bridge-road” (London, England, 10 Oct. 1896, page 25). His time overseas, remains a little foggy though. I have yet to locate any specific information pertaining to projects or productions. Greer returned stateside in 1897. That year, his name pops up in New York again.  On August 5, 1897, Brooklyn’s “Times Union” reported that “Mr. Julian Greer, Comedy Theatre, London” performed a baritone solo, as a hotel guests of the Hotel Griffing, as part of a benefit performance for area churches (page 6).

On October 12 of that year, Julian Greer is mentioned in the “New York Tribune.” The article reported, “Mrs. George S. Knight made her first appearance on the stage of continuous vaudeville yesterday at Proctor’s Theatre, Twenty-third-st. She acted the part formerly played by Miss Rosina Vokes in “The Circus Rider,” having assistance of Hugh Arnott and Julian Greer. The living pictures were a prominent feature of the performance.” (page 7). 

By 1898 Greer was again in the Midwest, now listed in the “Chicago Directory” as an author and living at 66 Rush. He was writing and translating plays. On November 19, 1898, the “Boston Evening Transcript” reported, “Miss Elliote Enneking expects to make an early appearance on the vaudeville stage, and will be seen in a one-act play translated from German by Mr. Julian Greer” (page 21). Greer continued to act during this time. On Feb. 19, 1898, the “Detroit Free Press” listed Julian Greer as part of the entertainment for the Detroit Lodge of Elks. The production included many professional performers associated with Whitney’s Opera House, Wonderland. A day earlier, the “Detroit Free Press” noted “The English actor, Julian Greer, has been specially engaged for ‘Faust’” (page 4).

That same year, Greer briefly performed in a Christmas Pantomime of “Humpty Dumpty.” On Dec. 24, 1898, the “Fall Daily River” included an advertisement for the production in River Falls, Massachusetts, reporting that Julian Greer and Miss Marguerite Evans supported the 7 yrs. old star, “Little Ruby.” The pantomime production was produced under the supervision of Chas. W. Ravel, the comical clown, known as the “Great Grimaldi” (page 5).

Despite his bounce back from scandal, it basically destroyed his wife’s life and career.  In 1896, Sollee was performing in Edward Vroom’s “For the Crown.” She was still making headlines and interviewed that spring. On May 27, 1896, “The Commercial Appeal” of Memphis, Tennessee, quoted Sollee in a review, identifying her as an author and playwright (page 5). And then she disappears from print. By 1897, Sollee’s name was no longer making headlines or was she listed in the cast of any touring production. By 1899 Ida F. Sollee was working as a clerk in Rochester, New York. This did not last for long, and she soon returned to the bosom of her family bin Florida. In Jacksonville, she remained at 406 E. Duvall until the last six months of her life, living with her mother and siblings. After moving back to the south, Ida never remarried and continued to work in retail until her passing in 1923. Six months before her passing, Ida had finally moved out and began living in her own home; she had relocated to Miami. Sollee was only 58 years old when she died, her death reported in Dade County death records.  

Greer’s career continued to evolve from acting and playwrighting to management. In 1906, Greer was associated with the production, “The Tie That Binds.” An article published in the “Morning Call” on Feb. 8, 1906, reported,  “In addition to many other sterling qualities embodied in the play, Mr. Julian Greer has added a number of high-class specialties and gotten together and exceptional strong company of players, making the attraction particularly enticing” (The Morning Call, 8, Feb. 1906, page 4).

Greer was also involved with the touring production of “Man’s Enemy.” On March 18, 1906, the “Omaha Daily Bee” reported, “For three nights, starting Thursday, Mr. Julian Greer will offer ‘Man’s Enemy,” a big melodramatic production to the patrons of the Krug theater. The play deals with the evils of drink, but contains a very pretty heart story running throughout. The show was billed as “a combination of romantic comedy and tragedy.”

On March 7, 1906, the “The Albuquerque Evening Citizen” reported that

Greer was visiting Albuquerque, New Mexico, to see his younger brother, Col. W. H. Greer, president of the Albuquerque Traction Company. Greer was considering the Traction Park Casino as a venue for his show. The newspaper commented that Greer was an actor and painter from New York City Greer. The remainder of the article is quite interesting, reporting:

“Julian Greer is here for the purpose of getting the colonel to accompany him to Omaha, Neb. Where he expected to show his performance of the theatrical company that will open the Traction Park Casino on May 15. The company was organized in New York, of excellent talent, and is now working west, playing at the most important cities en route. The troupe is expected to reach Omaha by the time the colonel and Mr. Julian Greer reach that place by leaving here tonight, which will probably be on Saturday. In speaking of the company and the people who compose it, Mr. Julian Greer said: ‘Nestor Lennon, one of the best-known actors of the American stage, and the man who succeeded Nat Goodwin successfully in ‘When We Were Twenty-one;’ Virginia Anderson, only 17, but a woman of charming personality, Maud Adams’ beauty and art, a coming star, is our leading lady. And she is certainly a wonderful young woman. There are many strong characters and specialty people among the sixteen persons, and I am not exaggerating when I say that it is one of the strongest troupes on the road. I am taking the colonel back to Omaha to witness the performance of the company.’”

“‘Oh yes,’ continued Mr. Julian Greer, ‘I expect to return with the company, and we will be here all summer. We hope to reach here in time to open by the middle of May. We carry our own scene painter, a very capable man. Who will furnish scenery for any production we may care to make? Our shows will include the best New York productions, with scenic effects.”

Mr. Julian Greer expressed himself as surprised and pleased with the elegance and adequacy of the Traction Park Casino. He said that it would be a compliment to a city of 100,000.”

However, there must have been a change in plans along the way. By April, his brother had turned the entire management of the Traction company over to W. M. Wortman, a manager of amusement parks in Pueblo, Colorado, and El Paso, Texas (Albuquerque Citizen, 7 April, 1906, page 5). That summer, the Casino was be billed as a combination house, playing a diversity of attractions. The Albuquerque Citizen, commented, “the house will probably open May 15, with a large stock company in a repertoire of modern plays, their run will be but a short time, after which they will give way to some other attraction. This plan will be followed out all summer, thus giving a variety of attractions that will relieve the monotony of a stock company for the entire season.” In the end, Wortman proposed to place El Paso, Albuquerque and Las Vegas on a summer vaudeville circuit (Albuquerque Citizen, 2 May 1906, page 8).

Little is known of Greer’s life from 1906 until his passing in 1928, his name sporadically popping up in association with various productions. In 1909, Greer toured with Frederick Hallen, formerly of Hallen & Hart, on the vaudeville circuit in a sketch entitled “A Lesson at 11 P.M.” (Fort Wayne Journal-Gazette, 10 Jan. 1909, page 8).  Ironically, Greer played the role of the jealous husband in the production co-starring Hallen and Mollie Fuller. In 1911, Greer was part of a Women’s Press Club event, held at the Waldorf-Astoria.  On Dec. 31, 1911, “The Brooklyn Daily Eagle” reported that the program included “’The Pope’s Franchise,’ written by Edith Toten and given by Julian Greer, Mrs. M, Reid Cory of Brooklyn, and Joseph Clancy” (page 6). By 1913, Greer was still performing vaudeville, but now associated with “melo-playettes.”  His productions included “The Killing” and “The Butterfly on the Wheel.” In “The Killing,” Greer was listed as “formerly leading man for Clara Morris” (The Record, Hackensack, NJ, 16 Aug. 1913, page 1). I have yet to locate any information about his work with Morris.

Then there is a large gap in the career of Greer where I have yet to locate any information pertaining to projects or travel. His mother continues living in California, and it is possibly that he spent some time with her there. Greer again makes New York headlines in 1921. On July 1, 1921, Greer is pictures with a group of Anti-Prohibition personalities in Brooklyn’s Standard Union” (page 16). To date, this is the only picture that I have been able to locate of Greer.  At the time, he was fifty-nine years old. 

It is possible that Greer temporarily redirected his focus from theatre to film. From 1921-1922, Greer appeared in two films, credited as an actor in both the Passion Flower (1921) and Sunshine Harbor (1922). In Sunshine Harbor he played the role of Editor MacSorely, and in Passion flower, he played the role of Acacia’s father. Acacia, the Passion Flower  was played by Norma Talmadge. He also continued to make sporadic appearances on the stage in his later years. But his appearances were few and far between.

On April 22, 1923, New York’s “Daily News” announced that Julian Greer would play Friar Lawrence in a production of “Romeo and Juliet,” as part of a Shakespearean anniversary event. On Nov. 2, 1925, the “Times Union” of Brooklyn announced that Julian Greer was part of the cast for “Hamlet in Modern Clothes” at Booth’s Theatre, playing a minor role (page 44). On Dec. 29, 1926, “The Times Union” also listed Greer as part of the cast of “The Strange Prince” at the 52^nd Street Theatre in Manhattan. On Nov. 15, 1927, “The Yonkers Herald” reported that Julian Greer was cast in the role of the Skipper in “White Cargo,” performed at the Warburton Theatre. This was the last newspaper article for Greer until his passing the next year.

On April 17, 1928, “The Brooklyn Daily Eagle” reported, “GREER – JULIAN GREER, Campbell Funeral Church, Broadway, 66^th st., Wednesday, 12 noon.” (page 22). On April 18, 1928, the New York “Daily News” reported, “GREER FUNERAL TODAY. Julian Greer, actor, artist and war correspondent, who dies suddenly in his home at 139 West 49^th st., will be buried today in Kensico cemetery.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

William P. Davis worked as a scenic artist at Sosman & Landis in 1881. That year, Thomas G. Moses wrote, “I had to go to Richmond, Indiana, this summer,  Will Davis was with me.  We had a pleasant time while there.”  In Richmond, the two were painting scenery at the newly refurbished Grand Opera House. On September 19, 1881, “The Evening Item” of Richmond reported, “The scenic work was completed by Sosman & Landis of Chicago with Thomas G. Moses painting the drop curtain.” The stock scenery delivered by the firm included: “four wings; one set plain chamber, four wings; one kitchen, and one prison, each four wings; one wood, six wings; one landscape, one perspective street, one rocky pass, one horizon, one ocean, one garden, one grand drapery border, one set tormentor wings and doors, three drapery borders, two kitchen borders, three foliage borders, one set cottage, one set bridge, four set rocks, one tree, two set waters, one foreground, one garden wall, one balustrade, two statues.” Davis continued to work for the firm, evening running a regional branch in Kansas City, Missouri, with Lemuel L. Graham until 1886.

Two decades later, Davis was recognized as a founder of the Twin City Scenic Studio of Minneapolis. Davis’ life and career are fascinating, yet so little information is known about his early childhood in Brockton, New York, or his final years in Seattle, Washington.

I’ll start at the beginning…

William P. Davis was one of three sons born to Hartwell C. and Elizabeth A. Davis in Brockport, New York.  For geographical reference, Brockport is approximately nineteen miles due east of Rochester, New York, situated along the Erie Canal.  William was the second child born the couple. His elder brother, Charlie P. Davis, died at the very young age of only four years old in 1853.

William was the second child born to the couple in 1853, and Edwin arrived five years after that in 1858.  Both Will and Eddie would become scenic artists, spending much of their lives together.  Both of their lives and careers would end in Seattle. Little is known of their early life in New York beyond a few federal and state census reports. They lived in the town of Sweden, located only a few miles from Brockport. Both towns are now considered part of the Rochester metropolitan area.

In 1855 New York State Census reported that the Davis household included H. C. Davis (32 yrs. old), Elizabeth Davis (26 yrs. old) and W. Davis (2 yrs. old). Although somewhat illegible, H. C. Davis’ occupation appears to be that of a carriage painter. However, his employment changed from one census report to the next, In 1860 his occupation was listed as a gardener and in 1865 he was working as an attorney. Only four year after that, at the age of 46 yrs. old, he passed away.

By 1869, Will Davis had moved west to Chicago and was working as a scenic artist, living at 366 Clark St.  At the time, he was only sixteen years old. On June 24 of that year, his father passed away, leaving behind a widow and two sons. Eddie was only eleven years old at the time. It remains unclear whether his father’s passing prompted Will Davis’ to move to Chicago, or if he had left beforehand. Regardless, the 1869 “Chicago Directory” listed William Davis as a scenic artist, living at 366 Clark St. H. C. Davis was buried at High Street Cemetery in Brockport. Interestingly, probate records show that his will was written just five days before his passing on June 19, 1869, witnessed by John A. Satta and Henry C. Hammond.

Will Davis continued to work as a scenic artist in Chicago while his mother and brother spent the next few years in Sweden before selling the family home. Advertisements were placed in the “Brockport Republic” on August 6 and 15, 1872, listing the sale by “Mrs. H. C. Davis.” Their property was located on the corner of Erie and Perry Streets, just a block away from the Erie Canal. After the family home was sold, Elizabeth and Edwin moved west to live with William in Chicago.

By 1880, Elizabeth, William and Edwin were all living at 612 Fulton Street. William was still working as a scenic artist, with Edwin now employed as a printer.  This arrangement only lasted for a few years.  In 1883, Davis was living by himself in Hyde Park, Illinois. Work continued to draw Davis throughout the region, and he went from one project to another.

On March 2, 1884, he was credited with painting the new drop curtain for the Grand Opera House in the “ Saint Paul Daily Globe” (page 4). The article  detailed the inspection of his work by Manager L. N. Scott, Commodore Davidson, and a few newspaper men. The article reported, “The design is oriental, and the idea has been beautifully executed. The scene represented by the picture which occupies the center foreground in from Moore’s poem of Lalla Rookh. The eye is first directed to the royal barge, which is represented with set sail and flying pennons as it enters the enchanted vale of Cashmere, where the princess is to meet her royal lover. On the deck of the barge is the princess and suite, while in the background may be seen the glittering palaces and towers of Cashmere, with steeples and minarets. The picture is done in grays and the effect is therefore subdued, it evidently being the intention of the artist to compliment the rich and beautiful effects of draperies at the sides. The effect here is beautiful and striking in the extreme. First may be mentioned the fluted arch which encloses the full-length picture of the barge as if in a medallion. The arch is Moorish in design and is supported by four columns on either side; at the base of the columns are blocks of marble surmounted by tripods which to carry out the oriental effect, exhale perfume. At the sides are rich and magnificent draperies which fall in graceful folds, being done in colors of green, scarlet and gold; the draperies are ornamented with a band or border of red, green and gold plush. The effect is sumptuous and indescribably rich, the artist having seemed to lavish his utmost opulent powers of the colors of the draperies, and the combination is harmonious to a degree. This magnificent accessory to the beautiful temple of Thespis gives a finishing touch and a look of completeness to the house hitherto wanting. As the curtain was painted by Mr. W. P. Davis, a young artist whose services were procured by Messrs. Beck & Rank of this city. The new drop curtain will be seen by the public for the first time next Wednesday night on the occasion of the performance of the ‘Pirates of Penzance’ by the Stillwater Choral union.” Here is a lovely article about St. Pauls’ Grand Opera House written by Janet Meyer on Aug. 24, 2020: https://www.minnpost.com/mnopedia/2020/08/the-short-grand-life-of-st-pauls-grand-opera-house/

By 1885, Davis moved south to Kansas City, Missouri, where he partnered Lemuel L. Graham to establish the scenic studio of Graham & Davis. In addition to running their own studio, however, the two also ran the regional branch of Sosman & Landis. In addition to contracting their own work, they worked as subcontracted for regional projects secured by Sosman & Landis. The 1885 “Kansas City Directory” listed William P. Davis as a scenic artist, associated with the firm of Graham & Davis. At the time Davis was boarding at Nivision House. One of their earliest projects was painting scenery for the Gillis Opera House in Kansas City. Other project completed in 1885 included scenery for theaters in Dodge City, Kansas, St. Joseph, Missouri, Champaign and Quincy, Illinois, Grand Island, Nebraska, and Huron, South Dakota. Newspaper articles track the firm’s steps as they go from one opera house to the next.

On March 21, 1885, the “Kansas Cowboy” of Dodge City, Kansas, reported, “Graham & Davis, scenic artists, of Kansas City, have been awarded the contract for painting the drop curtain and scenery for the McCarty opera house. There are to be five scenes. These artists painted the scenery for the Gillis Opera House at Kansas City”  (page 3).

On May 9, 1885, the “Sioux City Journal” reported, “L. L. Graham, scenic artist of the firm Graham & Davis, of Kansas City, was in town yesterday.”” (page 3). On August 4, 1885, the “St. Joseph Gazette” of St. Joseph, Missouri, reported, “Opera House improvements. The opera house cannot be obtained for the Grant memorial service, as a large force of workmen commenced yesterday on the erection of scaffolding throughout the house and ascending to the ceiling, for the use of the frescoers. Messrs. Fedeili & Suzen are doing the frescoing, and Graham & Davis the scene painting. The large center medallion in the ceiling will be retained, but all the rest will be new. It will require several weeks to complete the work” (page 5).

They also worked alongside other Sosman & Landis employees, including stage machinist Claude L. Hagan. On July 11, 1885, the “Champaign Daily Gazette” of Champaign, Illinois, included an article entitled “Getting Ready” (page 1). The article reported, “The scenery is being put in place, and when completed will be as fine as any in this part of the state. The work is being done by Graham & Davis, of Kansas City, and is superintended by Mr. C. L. Hagan. The appliances for shifting scenes, raising the curtain and presenting the finest stage effects, are all of the latest kind. The drop curtain will be in place on Monday, and we are assured that it will be a fine picture. The first entertainment will be given on Thursday evening by the Kennedy Comedy Company, who will occupy the boards three nights in succession, with a change of program each evening. The sale of seats will begin on Monday, at the post office drug store, where they may be secured for wither entertainment.”

On July 26, 1885, the “St. Joseph Herald” of St. Joseph, Missouri, reported, “The Next Season at Tootle’s. The Opera House Refitted – some of the attractions. Messrs. Graham & Davis have been occupied the past three or four weeks in painting an entire set of new scenery for the opera house. These gentlemen have just completed the painting of Boyd’s of Omaha, and were the scenic artists for the Gillis Opera House, Kansas City, the Academy of Music, Peoples’ and Standard of Chicago, and if further evidence of the ability were required it was shown in the magnificent grand drapery, tormentor wings and new garden scene at Miss Carter’s benefit last Friday. They have completed the most attractive landscape, a garden, new cottage interior, and are now at work upon a modern parlor interior, which will be pronounced the handsomest piece of scene painting ever seen on the local stage. They have also repainted the borders, tormentors, grand drapery, wings and a number of set pieces, among others a new set tree, which has long been needed. They will paint also a new street scene and a palace back, beside a number of necessary pieces” (page 4).

On August 21, 1885, the “Quincy Daily Journal” credited Messrs. Graham & Davis with the new scenery and drop curtain for the opera house in Quincy, Illinois (page 3). That spring they were contracted to fresco the auditorium and paint all of the scenery. On May 30, 1885, the “Quincy Daily Whig” reported, “Yesterday the management agreed to employ the firm of Graham & Davis to fresco the auditorium and repaint all the scenery. A large amount of new scenery has also been contracted for, and, as the firm which has secured the contract, are known as among the finest scenic artists in the west, the Quincy amusement goers reasonably expect to see a very handsome opera house and scenery when the work is complete” (page 3). The firm also delivered scenery for another Quincy stage at Geise’s German Theatre. On September 5, 1885, the “Quincy Daily Journal” reported. “Geise’s German theater will be opened in about two weeks. The scenery is being painted by Graham & Davis, at Kansas City” (page 4).

On September 3, 1885, “The Dakota Huronite” credited Graham & Davis for the stage scenery and machinery at the new Opera House in Huron, South Dakota (page 5). The article reported, “The stage was fitted by Claude Hagan, of the Gillis Opera House, Kansas City, and everything works so smoothly and perfectly that it is hard for the proprietors to find words to express their satisfaction. The scenery is the work of Graham & Davis of Kansas City, and its excellence seems to increase with each inspection.”

On Dec. 10, 1885, the “Grand Island Independent” of Grand Island, Nebraska, reported, “The handsome new drop curtain at Bartenbach’s opera house has been hung. It is a rich and handsome piece of work, costing between $200 and $300, executed by Graham & Davis, artists, of Kansas City. The curtain contains business cards representing twenty-two of the leading forms of this city, relieved by a neatly executed center piece representing a scene in Venice. Above is a life-like portrait of the proprietor of the opera house, Mr. Geo. Bartenbach, and the curtain is certainly a decided improvement over the former one and very attractive” (page 1).

While Graham & Davis were working in Kansas City, Will’s younger brother Edwin was working as a scenic artist in Cincinnati. It is possible that Edwin was operating a regional office for Sosman & Landis in 1885.  

By 1886, the firm of Graham & Davis relocated a much larger studio to accommodate the increased workload, located at 525 Main, Kansas City. Graham & Davis continued to work throughout the region, delivering scenery to opera houses in Ness City, Kansas and Omaha, Nebraska.

On May 1, 1886, the “Ness County News”  of Ness City, Kansas, reported, “The new scenery for the Opera House was received last Tuesday morning, but has not yet been placed in position. By some accident, the scenery was delayed in transit for about four weeks, and because of the lateness of the season it has been determined by Grand Army Post not to attempt the production of the military play the ‘Union Spy’ until next fall. In place of that play some minor drama will be produced for the benefit of the Post at an early day, on which occasion the scenery. Will be used for the first time. The scenery was painted by Messrs. Graham & Davis, of Kansas City and gives satisfaction in every particular” (page 5).

In 1886, Graham, & Davis delivered scenery to Boyd’s Opera House in Omaha, Nebraska. On July 17, 1886, the “Omaha Daily Bee” reported, “The ‘painter’s bridge’ which has been idle so long is now occupied by the artist Graham of Graham & Davis, of Kansas City. The gentleman arrived yesterday, and has already made considerable progress in the painting for which he came. He will be engaged here for about six weeks when the opera  house will reopen with a. fresh new supply of beautiful scenery…Mister Graham will this year, paint more new and retouch more old scenes than he has ever done on his earlier visits. Among this year’s work will be eight street wings, of both ancient and modern styles. These will be cut in profile, and act as business places, public buildings and private residences. The stage at the Boyd has never has street wings before, it being found necessary to supply their places with wood wings. He will also paint a white Elizabethan interior with armorial bearings, illuminated windows and features peculiar to that age. This will be particularly appropriate for a large number of operas and is being painted expressly for them. Besides these, there are several other ‘interiors.’ One of which is to be the most elaborate in design and excellent treatment. The supply of set pieces consisting of rocks, street, houses and other article of like nature is to be increased, so that., in fact the stage will have at least fifty per cents of its material that will be fresh to the audience” (8).

At some point during 1886, Davis headed north and began working in Minnesota. At the time, he was listed in two city directories, both in Kansas City and St. Paul. In St. Paul, he was listed as the artist for the Grand Opera House, living at 35 Court Block. Interestingly, his future business partner, William Knox Brown, was also working at the same venue as the stage mechanic. Davis’ employment in St. Paul, however, did not last for long. By 1887 Davis was again living in Chicago where he would remain for several years. He continued to travel and work throughout the region, all the while maintaining a permanent residence in Chicago.

1887 advertisements for L. L. Graham listed him as a scenic artist and “contractor for stage equipments, theatrical hardware, frame work, canvas, traps. Bridges, opera chairs, etc., and everything necessary for requirements of a first-class theatre.” His studio address was still listed as 525-527 Main Street in Kansas City. Meanwhile, J. U. Tschudi, B. F. Dunn, C. A. Oldham, and C. J. Lorella, were running the second iteration of the Kansas City Scenic Co., advertising as “Practical Artists and agents for theatrical hardware and stage supplies.” The firm’s offices and studio were located at the Gillis Theatre in Kansas City.

In 1888 Davis was listed in the “Painters and Decorators” section in the “Chicago Directory,” listing his address as 1036 W. Vanburen. By this time, his reputation as a scenic artist was quite well-respected and known throughout the Midwest. On February 19, 1888, Davis was mentioned with several other well-known scenic artists in an article entitled “Stage and Scenery,” published in “The Saint Paul Globe” of St. Paul, Minnesota. In the section, “LOCAL AND GENERAL TALENT,” the article reported,  “Among the elder scenic artists of the country are David A. Strong, of Chicago, formerly of Niblo’s Garden, New York, should be mentioned as one of the best colorists, and indeed is an artist of high rank. Marston, of New York, excels as an interior painter, and paints admirable exteriors as well. Thomas Noxon, of St. Louis, another veteran painter, has probably done his share to elevate the public taste in this line. William Voegtlin. E. T. Harvey. Henry E. Hoyt, John H. Young, Harley Merry, W. P. Davis and Phil Goatcher, number among those in the front rank.” Davis’ future business partner, William Knox Brown, was also mentioned in the same article: “W. K. Brown, of New York, the stage carpenter, deserves great credit for the clever mechanical effects to be seen at People’s. He is enthusiastic, a skilled mechanic and artist in his line. The artist and carpenter work hand and hand in the production of each play.”

In 1889, William P. Davis was still living in Chicago with his mother and brother Edwin, who was also working as a scenic artist. About this time, Will Davis became associated with the new Auditorium Theatre, continuing the build his reputation in the area. Opportunities in the northland, soon enticed Davis back to Minnesota. In 1891, Davis was assisted by Arthur Hurtt in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. Previously known as the Bijous Theatre, 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).

On April 23, 1893, the “Chicago Tribune” announced, “Manager Will Davis of the Columbia has returned from his trip to New York, which was taken for the purpose of arranging the final details of his World’s Fair attractions” (page 37). By 1894, Davis is associated with the Grand Opera House in St. Paul, Minnesota, boarding at the Clarendon Hotel in that city. He continues to work in the Twin Cities and is constantly mentioned in the newspapers, heralded for his scenic art works.

On April 30, 1899, “The Saint Paul Globe” reported:

“NEW DROP CURTAIN.

Picture to Delight the Eye of Patrons of the Metropolitan.

The magnificent new drop-curtain of the Metropolitan opera house will be exhibited to the inspection of the patrons of that theater for the inspection of the patrons of that theater for the first time tomorrow, Monday evening, this being a feature of the opening of Otis Skinner’s engagement. It is a beautiful and artistic specimen of scenic art, and is considered by Mr. W. P. Davis, the veteran scenic artist, to be one of the finest drop-curtains in the country. The subject represents a mammoth landscape in a gorgeous frame; in the foreground we see the limpid waters of the beautiful lake, set like a sparkling gem in a cluster of towering hills, with the blue sky of Italy overhead. In the distance the hills rise, tier on tier, to the dim horizon line where earth and sky blend in a film of delicate, shadowy color. The perspective is exceptionally good, the impression of great distance being brought out with remarkable effect. On the right can be seen a portion of the walls of an Italian castle, with broad marble steps leading down to a path which extends across the foreground, and is lost to sight in a mass of foliage o the extreme left of the picture. To the foot of the steps the figure of a beautiful woman is seen leaning in a graceful attitude on a handsome urn, holding on her arm a basket of brilliantly colored flowers.

The picture appears set on a dais, with a single rug-covered step leading to the ground line; on either side massive pillars support a canopy over the picture. Heavy draperies hang from the canopy, looped back in graceful folds on either side of the frame. The colorings are bright and harmonious, the treatment artistic and pleasing, and the general effect all that could be desired. The new drop-curtain will be an ornament to the handsome auditorium of which Manager Scott and his patrons are so pardonably proud” (page 28).

On Feb. 18, 1900, “The St. Paul Globe” described Davis’ work at the Metropolitan Opera House (page 28). The article reported, “PRETTY DROP CURTAIN. New One Will Greet Metropolitan Habitues This Evening. The magnificent new drop curtain of the Metropolitan opera house will be hung for the first time for the Danz orchestra concert this afternoon. This practically completes the process of redecoration which has been in progress at the Metropolitan since Dec. 1898, the entire house having been gone over. The new curtain is a beautiful specimen of scenic art and it is with a great deal of pardonable pride that Manager Scott announces its completion. The material is asbestos, and it forms an absolutely fireproof screen between the stage and auditorium. The borders are painted in bright, cheerful colors and tints in harmony with the decorations of the auditorium, giving an effect of striking brilliancy to the interior of the theatre. The center of the curtain is occupied by a mammoth picture, the subject being a splendid view of St. Paul from the bluffs behind the high bridge. In the foreground, on the right, may be seen a group of huge trees springing from the side of the precipitous cliff, and sweeping away to the left the view stretches across the blue waters of the Mississippi, over the level expanse of the flats to the sand rock bluff, which centuries ago formed the north bank of the river. From bluff to bluff the big bridge stretches like the web of a colossal spider, and beyond it the city of St. Paul fills up the rear ground of the picture, the view standing out with the clearness and distinctness of a photograph. The curtain is the work of W. P. Davis, who also designed and executed the decorations of the auditorium.”

Meanwhile, Edwin continued to work as a scenic artist in Chicago. The 1900 US Federal Census listed Edwin living in Riverside, Illinois, with other scenic artists. At the time, he was 41 years old and widowed. Willis M. Dietrich was listed as the head of household in the census report. Dietrick was 44 yrs. old and listed as a manufacturer of theatrical scenery. In addition to Davis, members of Dietrich’s  household included his wife, Jesse L. Dietrich (38 yrs. old), and his three sons, Harry W. Dietrich (17 yrs. old), Dean S. Dietrich (10 yrs. old), and Leslie M. Dietrich (9 yrs. old). The eldest son, Harry, was also a scenic artist.

Davis soon moved to St. Paul where he worked for his brother’s scenic studio. And this brings into play another scenic studio established by Davis, William K. Brown and Theodore Hays, the Twin City Scenic Studio. Davis’ association with the firm was not published in City Directories until 1902, but his work with the firm’s co-founders started long before that.

Much has been written about the Twin City Scenic Company by C. Lance Brockman, Professor Emeritus at the University of Minnesota. A scenic design collection, acquired by the University of Minnesota Performing Art Archives in the 1980s resulted in an exhibition from April 5 to June 14, 1987, at the University Art Museum, University of Minnesota, Minneapolis, curated by Brockman. The exhibition catalogue was entitled “The Twin City Scenic Collection: Poplar Entertainment, 1895-1929,” and included essays written by Brockman, John R. Rothgeb, Forrest A. Newlin and Lawrence J. Hill.

The catalogue summarizes the history of the Twin City Scenic Company, noting that by 1895, Davis, Brown and Hayes partnered to establish the Twin City Scenic Studio. The three initially worked at Bijou Opera House, with Hays acting as the manager. Each partner managed a particular aspect of business: Hayes was the business manager, Brown was the master mechanic, and Davis was in charge of the scenic art department. From his past work in Kansas City and Chicago, Davis had access to a large labor pool of scenic artists in the region, including his brother Edwin Davis. 

In 1905 the Twin City Scenic Studio was incorporated, and became the Twin City Scenic Co.  On July 15, 1905, the “Minneapolis Journal” published “Articles of Incorporation of the Twin City Scenic Company, Minneapolis, Minnesota” (page 14). In Article 1, the listing detailed, “The name of this corporation shall be the  ‘Twin City Scenic Co.’ The object for which this corporation is organized, and the general nature of its business shall be the manufacture and sale of all kinds of stage equipment, apparatus, properties and supplies for theaters, lodge halls, clubs, carnivals, expositions, fairs and entertainments, and the manufacture and sale of costumes and theatrical paraphernalia and photographic backgrounds, advertising scenery, effects and novelties.” In Article V, the names of the individual forming the corporation were listed as William P. Davis, William K. Brown. Theodore L. Hays and John A. Van Wie, all of Minneapolis.  The four men comprised the first officers of the corporation: Davis was President, Brown was Vice-President, Hays was Treasurer and Van Wie was Secretary. The amount of capital stock of was listed as $25,000, with 500 shares valued at $50.00 each. 

The beginnings of the firm were also mentioned in a “Minneapolis Journal” newspaper article published on February 25, 1905 (page 16). The article described the firm’s contribution to the new Minneapolis Auditorium under the heading, “Fine Stage Equipment,” the article reported:

“All the stage equipments were furnished by the Twin City Scenic Studio of Minneapolis and St. Paul. All of the curtains, scenery, stage traps and stage equipment were furnished by this company, as well as the asbestos curtain, and all of the equipment is of very high grade. This company was organized but four years ago and has developed a scenic business that will compare favorably in quantity and quality with any similar company in the country. The company is composed of Theodore L. Hays, manager, W. P. Davis, chief artists, and W. K. Brown, chief mechanic. Mr. Davis was formerly chief artist of the sudatorium theater, Chicago, and is a veteran of scenic art. Under his direction the scenery for the Auditorium will be painted. Mr. Brown is conceded to be one of the ablest stage mechanics in the country and under his direction the auditorium scenery will be built, and the mechanical appliances and apparatus installed.”

In 1905, the Twin City Scenic Company hired Walter Burridge to paint the Auditorium Theatre drop curtain. Burridge was assisted by Davis in this endeavor. Hiring a well-known scenic artist to paint drop curtain for the Auditorium Theatre was a very strategic move for the Twin City Scenic Co. This was a common practice, one perfected by Sosman & Landis in the 1880s and 1890s.  Temporarily contracting a well-known artist added legitimacy to the firm and helped the project make headlines. On May 9, 1905, the “Star Tribune” described the new drop curtain. I am including the article in its entirety:

“The great Auditorium curtain, a work of high art, done by one of the most celebrated scenic artists in this country, is now practically finished , and Walter Burridge, whose whole attention has lately been given to this fine picture, left last night for New York. What remains to be done, W. P. Davis, artist of the Twin City Scenic studio, who has assisted in the work, will complete.

The subject chosen by Mr. Burridge was the ruined temple of Minerva, the only condition which is known in modern times, and one which the artist has freer rein for an idealized and imaginative work.

IN KEEPING WITH THE BUILDING

While the artist has been silently engaged on the picture few have known of his presence, or of the work of art which was growing under his hands, to be one of the greatest of the creations with which he has adorned many leading halls of America.

A few artists have seen the work, and these declare it to be the crowning glory of the splendid interior; a work perfectly in keeping with the building, restful and quietly pleasing to the eye, and in fine, a work of art upon which one might gaze long and not tire.

The subject is taken from an old picture of the ruined temple. It is not, however, simply a reproduction, the original being idealized, the scene somewhat elaborated and the treatment adapted to the purpose of a stage curtain.

The temple is shown on its stately eminence in the middle distance, the outlines somewhat hazy, and the beautiful Grecian columns in various stages of decay. The building occupies a position in about the center if the picture, and is surrounded by a characteristic and beautiful Athenian scene, which stretches away in the background to a dim and poetic distance.

The general tone of the work is quiet and subdued and in perfect harmony with the plain and massive character of the auditorium interior. The tints are neutral, sienna grays and other pale tints being mostly used.

The border, which remains to the done, will of course be Grecian, and will be worked out in subdued colors.

WORK OF MAGNITUDE

The immense size of the curtain, 44 by 58 feet, of itself made the work one of no little magnitude, and when it is considered that the colors spread over this great area were to combine into a work of high art some conception of the task of the artist may be formed.

The new curtain will be seen for the first time by the public on the opening night of the grand opera season, March 14, and will be a feature lacking at the recent grand opening, when the asbestos curtain had to do duty in its stead.

Walter Burridge designs the scenic part of all the great productions of Henry Savage, and his journey to New York is in connection with one of these.

He was specially engaged by the Twin City Scenic studio, which has charge of all the scenic work for the Auditorium.”

I want to briefly place the mention of Burridge’s work for Savage in historical context, as it relates to both Davis and Thomas G. Moses.  When Moses left Sosman & Landis in 1900 and moved to New York for four years, he was contracted by Henry Savage to design all of the scenery for his operas.  In New York, Moses also established the scenic studio of Moses & Hamilton. Moses ended his New York partnership with Will F. Hamilton in 1904, and returned to Chicago to become the vice-president of Sosman & Landis, directly supervising all design, production and installation at the firm. Moses was also a former business partner of Burridge. Two decades earlier, Moses the two had established the scenic studio of Burridge, Moses & Louderbeck. Davis, Burridge, and Moses were all intimately connected and part of a very tightly-knit network.  It is always important to examine the scenic studios that did not compete against each other. I have yet to locate any competition between Twin City Scenic Co. or Kansas City Scenic Co. with Sosman & Landis; each company being founded by former Sosman & Landis employees. Yet they all worked on projects in the same region, subcontracted work to one another, yet seldom competed for the same project. Studios owners also maintained very close friendships.  For example, Davis and Moses remained close friends from their first meeting in 1881 until Davis’ passing in 1922.

Even after Davis moved to Seattle, Washington, Moses continued to visit his dear friend whenever he was in the area.  In 1921 Moses wrote: “Ran over to Seattle and was pleased to see friend Davis.” In 1922 Moses was working in Tacoma, Washington, and recorded, “My old friend Davis called on me from Seattle.”  Their last meeting was shortly before Davis passed away in August 1922.

Both Edwin and William P. Davis moved to Seattle by 1910, although I remain uncertain as to the exact date. However, by 1911, the annual company scrapbook for the Twin City Scenic Company includes a photograph for a parade float in Seattle, Washington.

I have yet to locate any record of Davis’ scenic art work in the Pacific Northwest. Their move shortly follows the establishment of several scenic studios in the regions, however, and this may have been cause for their initial move west.  For example, in 1906 William Grabach established his Pacific Coast Scenic Studio in Portland, Oregon. Grabach was another former Sosman & Landis scenic artist. I have not tried to track down any connection between Grabach and Davis.  Neither Will or Edwin appears to have established a scenic studio or became associated with any theatre manufacturing firm. All I know for certain is that William and Edwin were living together in Seattle when Edwin passed away in 1914. His death was announced on Aug. 20, 1914, in Rochester’s “Democrat and Chronicle:”

“Edwin Davis. Brockport, Aug 20. – News was received to-day of the death of Edwin Davis, formerly of this village, in the home of his brother, William P. Davis, in Seattle, Wash. He was 55 years old, having been born in Brockport in 1859, His early life was spent in this village and he graduated from Brockport Normal. His later life was spent in Chicago, He was a scenic artist by profession. His only relative is his brother. The body will be brought here for burial in the High street cemetery” (page 5). Edwin was buried in the same cemetery as his father H. C. Davis.

Will Davis also passed away eight years later, also in Seattle. A Washington State death certificate lists his passing on June 10, 1922. Other than a digital summary, I have yet to locate any other information, including cause of death or an obituary notice.  Although his father and brother were buried at High Street Cemetery in Brockport, New York, William P. Davis was not buried there.

There was a William P. Davis (died in Tacoma, Pierce County, Washington, in 1922) who is buried at Oakridge Cemetery, Marshall, Calhoun County, Michigan, Lot #55, Sec. E, New Grounds. Tacoma is very close to Seattle, Washington. I am pretty confident that this is the same person.

Gravestone of William P. Davis at Oakridge Cemetery in Marshall, Michigan.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Billie Martin was a scenic artist at Sosman & Landis Scene Painting Studio in 1890. He was mentioned by Thomas G. Moses as one of the on-site crew that painted the stock scenery for the Broadway Theatre in Denver, Colorado. After completing some extensive research,  I tracked down the life and career of William H. Martin (1853-1906). Identifying Billie’s birthname was quite a challenge, then everything fell into place.

William Henry Martin was born in Chicago, Illinois, in 1853. He was one of two sons born to Richard Martin (b. 1803) and Mary Sophia Keeling (b. 1829). His older brother was John Albert Martin (1850-1895).

The 1860 US Federal Census listed the Martin household as including Richard Martin, Mary S. Martin, John A. Martin and William H. Martin. Richard worked as a carpenter in Chicago at this time. Near the end of 1860 or at the beginning of 1861, Richard Martin passed away, leaving his much younger wife to fend for herself and two young sons. I have yet to locate any death record or obituary listing Richard. However, in the 1861 “Chicago Directory,” Mary Martin was listed as the widow of Richard Martin, living at “W. Madison nr Lincoln.” She was again listed as Richard Martin’s widow in the 1862 Directory, still living at West Madison, between Lincoln and Wood.

To support her family, Mary began working as a seamstress, an occupation that she would continue for the remainder of the decade. Interestingly by 1867, Mrs. Mary Martin was employed as a costumer, now associated with the theatre. Within the next five years, both of her son’s would also join the theatre. In addition to occupational changes, there were significant familial changes. By 1870 William Martin was living with his mother and brother in the home of his new step-father, John White.  White was working as a day laborer, John A. Martin as a watchman, and William H. Martin as a house painter. Over the years, William would continue to work as a painter, eventually joining the theatre industry, as his mother and brother.

In 1872, his older brother, John Martin, was listed in the “Chicago Directory” as an actor, boarding at 727 W. Madison. William was still employed as a painter, also living with his brother at 727 W. Madison. Interestingly, by 1874, the two were associated with the Myers’ Opera House. John was working as a property man and William as a scenic artist, both boarding at the Davis House. The Myers’ Opera House was located on Monroe Street, between Dearborn and State Streets. The theater opened on Sept. 23, 1872, and primarily featured Minstrel acts. By September 1874, Myers’ Opera House briefly became known as the American Museum, but soon returned to the name Myers’ under the management of E. L. Dickey. In 1874, Myers’ Opera House was advertised as “the only variety theatre in Chicago” (“Chicago Tribune” 17 Oct 1874, page 11).

The Martin brothers’ work at Myers’ was confirmed in newspaper article from 1874.  On April 22, 1874, “The Inter Ocean” published an article entitled “Clothing Smugglers” (page 8). It is a fascinating story in its own right, so I am including the article in its entirety:

“Clothing Smugglers.

For some time, past, John P. Campbell, Special Agent of the United States Treasury Department, has had reason to believe that certain parties in this city were extensively engaged in smuggling clothing from Canada, but he was unable to obtain evidence sufficient to warrant their arrest until a day or two ago, when he struck a lead that panned out pretty well. Yesterday, therefore, he caused the arrest of William Martin, scene-shifter at Myers’ Opera House, and Luther Marshall, the tailor who mends and alters clothing for the establishment. They were taken before Commissioner Hoyne for examination, at which some facts were elicited which may be of interest to certain dealers in [spirituous and malty liquors and certain “burnt cork” artists of this city. Among other matters it was stated that the new pantaloons which Frank Hildreth, the steward at Chapin & Gore’s establishment, wears cost him only $8, not counting the little balance still due to Uncle Sam; Richard R. Halley, a scene-painter at Myers’, it is alleged, wears a $27 suit procured under similar circumstances, Ben Cotton’s pants cost, it appears, just $8, while those of C. Kleist, one of the musicians, cost $11; John Martin, the property man sports a $5 vest; Ed Quinn, one of the violinists, has a $36 suit; Surridge, the sweet-voiced tenor, paid $24 for that overcoat and $10 for those paints; Thomas Rawley of Chapin & Gore’s place, wears a $26 coat and vest; William Keating the bartender, took a pair of pants at $11; and Mr. Lomar, or the Clifton House bar, has a $50 suit. One or two other parties are suspected of wearing smuggled apparel, and all will be called to account in due time. For the present the two men who were examined yesterday afternoon are held in $500 and $300 bail, respectively.”

This article is especially interesting when considering that Mary Martin worked as a seamstress and costumer. Some historical records also list “Canada” as not only her birthplace, but the birthplace of William Martin too. 1874 was also the year that Mary Martin White and John White celebrated the birth of their daughter, Lizzie White.

Although the Martin brother’s work at the Myers’ Opera House ceased in the spring of 1874, they continued living together. The 1875 Chicago Directory listed John Martin as an actor. He was still living with his brother, now each boarding at 186 State Street. I have not yet to located anything further information pertaining to the Martin brothers theatrical activities between 1875 and 1877. Interestingly,  both were married in 1877. On August 12, 1877, John married Annette H. Conley in Manhattan, New York, and two months later, William married Margaret “Maggie” Mulvey on October 25.  So sometime between 1875 and 1877, John moved west. Leaving his brother to remain as a painter in Chicago. When William and Maggie were married in 1877, they respective ages were listed 24 and 22 yrs. old respectively. Like William, Maggie’s parents emigrated from Ireland, her father passed away at a young age, her mother remarried, and then her mother started a second family with her new husband. There appeared to be more similarities than differences between the two as they began a new life together.

In 1880, both William and his older brother John were still working in the theatre, just 800 miles apart. John Martin was employed as a properties man in Manhattan, and William as a scenic artist in Chicago. In New York, John and his wife, Anne H., were living at 257 West Houston Street. Meanwhile William and Maggie were living at 449 West Madison Street in Chicago. The 1880 US Federal Census listed William and Maggie living with one boarder, May Swenson, a seamstress.

William did not remain in Chicago for long, and by 1883, was working in Cincinnati. He was listed in the 1883 Cincinnati Directory as a scenic artist, living at 320 Main. He returned to Chicago by 1886, as his son Edward Joseph Martin was born there on March 20 that year. The Martin’s remained in Chicago for the remainder of their lives, only changing addresses a few times. During the mid-1880s, William was listed in the “Chicago Directory” as a scenic artist, living at 364 Blue Island av.

Both of those years. Interestingly, there was another William Martin, listed as a physician, living just down the street at 322 Blue Island Ave. In 1867, William Martin, Physician, had been living at 361 Blue Island.

It remains unclear as to exactly when Martin began working at the Sosman & Landis Scene Painting Studio. However, by 1890, he was one of four scenic artists chosen by Thomas G. Moses to accompany him on site at the Broadway Theatre in Denver, Colorado. That year, Thomas G. Moses and William “Billie” Martin painted with Edward Loitz, William Minor and Charles Minor. In 1890. Moses recorded,” I had besides Loitz, William and Charlie Minor and Billie Martin.” Ff the project. Moses wrote, “The job was an ideal one.  I made new models and we put in a cyclorama drop, 36 feet high and 250 feet long.  It ran on a track and we could make three distinct skies; a plain, a cloudy and a moonlight.  No borders.  We trimmed the front stuff down to low enough to mask.  All rows were profiled; very effective. There was some time lost in getting started….The Broadway opened August 18^th, with Look’s Opera Company in the ‘Bohemian Girl.’”

For the next decade, Martin continued to work as a Chicago scenic artist. He passed away at the relatively young age of 53 yrs. old, only outliving his wife by two years.

Margaret Martin died on Aug. 19, 1904, and was buried at Calvary Cemetery in Chicago. At the time of her passing, the Martin family was living at 76 Oregon Ave. 

Her obituary was published in the “Chicago Tribune”:

“Martin – Margaret [nee Mulvey] beloved wife of William H., and mother of Edward J. Martin, sister of John and Edward Mulvey, Mrs. E. Walsh. Mrs. B. C. Crowley; John and Nellie Foley. Funeral Monday , Aug. 22, from late residence, 67 Oregon-av., at 9 a.m., to St. Patrick’s church where high mass will be celebrated by carriages to Calvary. Member of Married Ladies’ Sodality and Holy Family Court No. 1. W. C. O. F.”

William H.  Martin passed away on March 3, 1906, Chicago. He was buried at Calvary Catholic Cemetery next to his wife, Section N, Block 3, Lot 33.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Will Hamilton worked as a scenic artist for Sosman & Landis during the early 1890s. He continued to sporadically work with the firm over the years, and even partnered with Thomas G. Moses from 1900 to 1904. Like many of his contemporaries, Hamilton was not only a skilled painter, but also a stage mechanic well-versed in scenic spectacle.

William Franklin Hamilton was born on Dec. 11, 1864, in Warren, Ohio. He was the only son of William F. Hamilton, Sr. (1840-1906) and Mary Ann Moffett (1842-1922). His three younger sisters were Emma (1867-?), Carrie (1871-1957), and Nellie (1878-1946).

The 1870 US Federal Census listed the Hamilton family as living in Harmony, Pennsylvania. At the time, their household included William F. Sr. (30 yrs.), Mary A. (30 yrs.), Charles (9 yrs.), William Jr. (5 yrs.), Mary (3 yrs.), and maternal grandmother Elizabeth Moffet (54 yrs.).

A decade later, the family was still living in Pennsylvania, but had moved to Bradford. In Bradford, William Hamilton Sr. worked as a carpenter. “Willie” Hamilton was 15 yrs. old at the time and working as a clerk.  It remains unclear as to exactly when Hamilton commenced his career in scenic art, however, by 1887 he was working as a scenic artist in Lancaster, Pennsylvania.

On June 15, 1888, the “Northumberland Country Democrat” of Sunbury, Pennsylvania, reported, “W. F. Hamilton, of Lancaster, a scenic artist, is in Sunbury on business” (page 1). He did not remain in Pennsylvania for long, moving to New York later that summer. On August 1, 1888, an article in the “Pottsville Republican” reported, “W. F. Hamilton, a scenic artist, of New York City, is domiciled at the Merchants’ Hotel. He is at work on a 5×5 feet lawyers card with a view of Tumbling Run in the center, which he is placed at the Court House” (page 4).

Hamilton’s travels throughout the region continued that year and included Staunton, Virginia.  The “Maysville Evening Bulletin” published his endorsement for a local photographer on Jan. 25, 1888 (page 2). The endorsement stated:

“Kackley’s Photos.

Staunton, VA., Jan. 23, 1888.

Editor Maysville Daily Bulletin – During a recent stay in your enterprising little city, I had some cabinet photos taken at Mr. Kackley’s gallery and, as an artist, I take much pleasure in saying that the pictures that I received to-day reflect much credit on Mr. Kackley, the style and finish being most excellent.”

By 1890, the “News Herald” of Franklin, PA, announced his visit.  On August 13, 1890, the section entitled “Our Card Basket” reported, “Mrs. W. F. Hamilton, of Johnstown, and her son, W. F. Hamilton Jr., have been the guest of the lady’s brother, B. Moffett. The son is a rising young scenic artist of New York city. He left this morning for Nashua, N. H.” That same day, the “The Oil City Derrick” reported, “Mrs. W. F. Hamilton, of Johnston, and her son, W. F. Hamilton, Jr., scenic artist of New York City, are visiting the residence of Mrs. Hamilton’s brother B. Moffett. Will, who is a former Oil City boy, has established quite a reputation as a scenic artist. He says he has more work than he knows how to get through with, but stole a few days to visit friends and relatives in the Oil Regions, He leaves Wednesday for Nashua, N. H.” (page 1).

By 1892, Hamilton was working in Boston at the Bowdoin Theatre. On Feb. 14, 1892, the “Boston Sunday Globe” credited Hamilton and Arthur H. Davis as painting the stock scenery, including two interior settings. The official scenic artists for the venue were former Sosman & Landis artist Henry C. Tryon and A. H. Davis. Tryon passed away that summer. On September 5, 1892, the Personal Section of the paper included, “W. F. Hamilton, the scenic artist, is again in this city, after having finished his contract placing two curtains in the Academy of Music at Pittsfield” (page 4).

Moses first met Hamilton in 1892 when they worked together on the models and scenery for “Ben Hur,” a touring pantomime tableaux. By 1894, Hamilton married Susie A. Howes (b. 1874) in Boston, Massachusetts. Their marriage certificate confirmed Hamilton’s birthplace as Warren Ohio, and his occupation as “artist.” Little is known of Suzie, other than she was from Belchertown, and that her parents were Frank H. and Ellen V. Howes. The couple was married by a Justice of the Peace. I have yet to find any divorce records, but their marriage did not last. By 1906, William married his second wife, Elizabeth (b.1878).

Like many scenic artists, Hamilton worked all over the country on a variety of projects, especially along the eastern seaboard. By 1896, Hamilton was associated with both the Standard Theatre and Star Theatre in New York, yet continued to travel for work. Hamilton painted scenery for the Thalian Hall in Wilmington, North Carolina in both 1896 and 1899.

On August 29, 1896, the “Wilmington Star” reported, “Mr. F. C. Peckham, of New York, assistant to Mr. W. F. Hamilton scenic artist and stage manager of the Standard Theatre, arrived in the city yesterday and will commence work at once on the scenery and new drop-curtain at the Opera House “ (page 1). The “Wilmington newspaper” later reported:

“Everything is now in readiness at the Opera House for the opening of the season. To use a trite expression, the new drop curtain which has just been completed by the well-known scenic artist, Mr. W. F. Hamilton, of the Standard Theatre, New York, city, is ‘out of sight.’ The new curtain is a very handsome one. The large centre scene represents the coast of Cornwall, showing the high cliffs, upon the tops of which are the homes of the fishermen and natives of this dangerous coast. Mr. Hamilton and his clever assistant, Mr. F. C. Peckham, showed a STAR reporter yesterday several superb set scenes, which they have just completed, in conjunction with the curtain, for the management of the house. The handsome old curtain, which has for many years past done excellent service, has also undergone repairs, and has thrown off its roller and will “slide up” like its companion.” In other words, Hamilton transformed the original 1858 drop curtain by Russell Smith into a fly drop.

In 1897, W. F. Hamilton was listed as a scenic artist in the “Boston Directory.” He was living in room 20 at 611 Washington. From 1898 to 1899 he remained in Boston and was listed as the scenic artist for the Columbia Theatre. On March 10, 1899, “The North Adams Transcript” in North Adams, Massachusetts, published an article entitled “Columbia Scenery and New Exit” (page 5). The article noted, “The trustees of the F.M.T.A. society awarded the contract to Hamilton to complete the work. Of Hamilton as an artist, the article continued, “He has an excellent reputation, and will provide a complete set of scenery, with drop and fireproof curtains. It is expected that some of the scenes will be more elaborate than anything the house has had.” While in the city, he completed numerous projects, including holiday window displays for C. E. Osgood (“Boston Sunday Post,” 12 Dec., 1897, page 15) and Jordan Marsh & Co. (“Boston Daily Globe,” 5 Dec. 1898, page 8).

In 1898, Hamilton delivered stock scenery to the Gem Theatre at Peaks island in Portland, Maine. On June 3, 1898, the “Portland Daily Press” reported, “In addition to the large stock scenery originally purchased there have recently been painted by W. F. Hamilton of the Columbia in Boston, a full oak, a rococo parlor and colonial sets all of which are intended for the opening night and from time to time further additions will be made by the scenic artist as occasion demands” (page 7).

William F. Hamilton was also an inventor of stage effects. Manager Charles H. Yale purchased Hamilton’s “The Dance of the Elements” in 1900. Hamilton’s attraction was added to Yale’s annual production of “The Everlasting Devils Auction.” Yale created a new edition of the production each season, advertising, “New and timely matter, clever novelties, original ideas in scenery and costumes, imported and native artists in all branches of the profession, sumptuous ballets and features that were exclusive to this attraction” (“The Montgomery Advertiser, Montgomery,” Alabama, 14 Sept. 1902, page 11). By 1902, the “Everlasting Devil’s Auction” announced its twenty-first edition. Each year, announcements advertised that existing acts were replaced with “new ideas, features, scenery, costumes, and mechanical effects.”

The “Indianapolis Journal” reported, “Mr. Yale has bought outright from the Inventor, W. F. Hamilton, for presentation solely with this attraction, a new electrical sensation entitled ‘The Dance of the Elements.’ The paraphernalia employed in this scene are elaborate and intricate, and is developed by two clever dancers, who, costumed as the Elements Pirouette among real rain, snow, gold storms and cyclones, these effects being aided by the introduction of a number of new ideas in electric lighting and a multiplicity of harmonious coloring, abetted by special scenic investiture, forms one of the most beautiful light and color ideas that has yet been discovered for theatrical use” (“The Dayton Herald”, 28 Nov. 1900, page 7).

The sale of this invention occurred the same year that Moses partnered with Thomas G. Moses to establish a scenic studio. From 1900 to 1904, the two ran a very successful studio in New York, creating stage shows and amusement park attractions. Moses & Hamilton operated a scenic atusio at Proctor’s 125th Street Theatre. Their staff included Ed Loitz, Otto Armbruster and Al Robert. Projects were plentiful, and consistently spread across three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125^th Street Theater.  Moses was the lead scenic artist at the American Theater, Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Roberts was the lead scenic artist at Proctor’s 125th Street Theatre.

For three years, Moses & Hamilton secured almost more work than they could handle, producing scenery for opera, vaudeville, and other entertainments. Their work for Frederick Thompson at Luna Park included “A Trip to the Moon,” “20,000 Leagues Under the Sea” “War of the Worlds,” and “Fire and Flames.” A few of Moses & Hamilton’s Broadway designs included “Under the Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey” (New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand Opera House from August to September, 1904), “The Medal and the Maid” (Broadway Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls” (Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904). Their work was sought after by Helena Modjeska, John C. Fisher, Henry Savage, and other well-known theatre personalities.

The partnership ended when Joseph S. Sosman and David H. Hunt lured Moses back to Sosman & Landis’ Chicago studio in 1904. When Moses returned to Sosman & Landis, he was promised complete control over design, construction, and delivery of all projects, plus a share in the company. Moses recorded that Hamilton was devastated with the closing of their business, writing, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it, as he saw his meal ticket slipping away.” In addition to numerous theatre installations, Moses & Hamilton had created several outdoor attractions to Coney Island, including “Trip to the Moon,” “20,000 Leagues Under the Sea,” “Fire and Flames,” “The War of Worlds,” and many others. They also designed and ran the own Coney Island attraction, “The Devil, the Man and the Maid.” As with “The Dance of the Elements,” this successful design was purchased by another manager to run.

Hamilton continued to focus on amusement park attractions after Moses headed back to Chicago. In 1904, “The Courier” reported, “W. F. Hamilton, the well-known scenic artist has secured a large tract of land in Winthrop, Mass., facing on the water, where another Luna Park will be created on a more extensive and elaborate scale. A syndicate of capitalists is going to assist Mr. Hamilton in promoting the affair, and by next May, Boston will have a summer place of amusement larger and finer than anything on exhibition at Coney Island. Architects are now busy completing the plans, and the work is expected to begin within a week. The eccentric character Verno, says we are to have Luna Park, a ‘Pike’ or something of the kind on Island Park next summer. The only evidence of it is the stone ‘pier’” (Harrisburg, PA, 13 Nov. 1904, page 9).

In 1906, Hamilton had moved to Pittsburgh and was working on another amusement park. On February 4, 1906, the “Pittsburgh Press” reported, “Manager W. F. Hamilton, of the Dreamland Amusement Co., of this city, has had a force of men at work preparing the foundations and sewering the tract of 20 acres in readiness for the actual building of the array of palaces and other features as soon as Old Sol begins to beam his loveliest in springtime…In W. F. Hamilton, the projectors of the new park have a man who is not only excelled in his line of amusement park promoter int his country. He is not only a practical contractor, but he is a finished scenic artist and constructor, and in addition has some expert knowledge of the laying out of landscape gardens. He was associated with Thompson & Dundy in the first production of their spectacle “A Trip to the Moon” as designer and constructor.”  On Feb. 18 of that same year,  the “Pittsburgh Press” added, “W. F. Hamilton of New York, who has built a number of such great playgrounds, and who is a scenic artist of national reputation, has charge of the latest Pittsburgh Park project” (page 22). The new pleasure land on Jacob Weinman’s property, was called “Dream City and promoted as a “veritable fairyland of color light and architecture.” Weinman, of Pilkinsburg, was the president of the Dreamland Amusement Co. of Pittsburgh and W. F. Hamilton, the manager. Besides the standard amusement park attractions at Dream City, a picnic ground was planned, with rustic bridges, pavilions, and benches, to “bring delight to the seeker after pleasure and nature alike.”

By the end of the year, Hamilton also established the Pittsburgh Sportsman’s Show Association, becoming the vice president and general manager of the organization. He remained in Pittsburgh for a few years. In 1906, he married his second wife, Elizabeth Baylor, there. Elizabeth was quite a bit younger than, born in Philadelphia on March 6, 1878. The daughter of Theodore Baylor (b. 1849)  and Catherine Rass (b. 1849). 

By 1907, Hamilton was associated with the Alvin Theatre in Pittsburgh, listing the venue as his business address in local advertisements for stage equipment.

{Insert Hamilton Ad]

In 1907 Hamilton also began working as a salesman for Messmore & Damon Inc., and was still representing the company as a salesman in 1919 when he traveled to Cuba for the firm.

On Oct. 23, 1908, “The Oil City Blizzard” of Oil City, Pennsylvania, announced, “W. F. Hamilton, a scenic artist, of Pittsburgh, is in the city assisting in the preparation of floats for the Halloween celebration” (republished on October 23, 1948).

The 1910 US Federal Census listed William F. Hamilton as a sign painter in the Theatre industry, living with his second wife Elizabeth Hamilton (32) and his Mother-in-law Jane McNally (69) at 957  Fox Street in the Bronx, NY.

In 1914, Hamilton painted scenery for the big Actor’s Fair at “The White Rats” clubhouse on West Fifty-sixth Street, New York. On May 16 the “New York Clipper” reported, “A complete scenic equipment, transforming every interior of the main floors and roof of the building, electric multi-colored illuminations inside and out, gay bands on the walk outside and myriad gay novelties within are all comprehended in the preparations already completed. W. F. Hamilton, scenic artist, has painted several thousand feet of profile and hanging effects for the carnival. These began at the entrance with a miniature but practical reproduction of an average one-night stand town hall, which is equipped with the average town hall’s complement of scenery, will be presented every afternoon and evening, ten-minute tabloid satires of a half dozen or more of the hoary old-time ‘mellera,’ with ‘Uncle Tom’s Cabin,’ ‘East Lynne,’ ‘Ten Nights in a Bar Room,’ ‘The Silver King,’ ‘The Lights of London,’ and the ‘Corsican Brothers’ included” (page 3).

In 1915, the New York State Census listed William F. Hamilton and his second wife Elizabeth Hamilton living in New York. William was listed as a 50 yrs. old artist and Elizabeth as a 37 yrs. old vocal teacher. That year, their only daughter, Betty Clare was born.

In 1918, Hamilton was again working with Moses, but this time in California. Moses wrote, “I made a lot of models and sketches for floats for Labor Day.  Hamilton came out from New York to superintend the work.  He always drops into a fat job somewhere.” Their project was designing and building floats for the San Francisco Labor Day parade.

In November 1919, Hamilton was still living in New York when he applied for a passport. His application included a letter from Messmore & Damon, “artistic creators in ornamental plaster,” located on Ninth Avenue:

“Secretary of State

Washington, D.C.

Dear Sir,

Referring to the application for a passport to visit Havana, Cuba, made by W. F. Hamilton. Mr. Hamilton is making the proposed trip in our interests for the sale of our products and such contracts as he may be able to secure for floats and decorations for their annual celebration in February. Our association with Mr. Hamilton dates from 1907.

Yours respectfully Messmore & Damon Inc. President. G. H. Messmore.

Hamilton’s passport application noted that in the past he had resided outside of the US for two days (Canada) in August 1919. In 1919, his permanent residence was listed as 409 Bedford Ave. Mount Vernon, NY, and he needed a passport to conduct business in Cuba. Hamilton was planning to spend 6 months in Cuba.

The 1920 US Federal Census listed William F. Hamilton living with his wife Elizabeth (42), daughter Betty (4) and mother-in-law Jane McNealy (also McNelly/McNally – 80). He was working in the “Decorator” industry. About this time, Hamilton shifted his focus and headed to the West Coast.

In California, Hamilton saw the potential for an ever-increasing number of opportunities associated with the Masonic Fraternty. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920.  The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.

By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year. The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (“Sacramento Star,” 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”

Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15).  The article continued,  “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4). The Municipal Auditorium once hosted the Oakland Shrine Circus.

Moses continued to visit with Hamilton whenever he was working on a project near San Francisco. Over the years, Hamilton continually urged Moses to move west.  Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.”  Moses consistently landed work in California and visited his friend. In 1925 Moses wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.” 

The 1930 US Federal Census listed William F. Hamilton as an artist in the newspaper industry, living with his wife Elizabeth C. (52 yrs.)  and daughter Betty C. (14 yrs.) at 751 El Camino Real.

In 1936, Hamilton was still working as an artist, now living at 3404 Clay. He and his wife were listed as Republicans in the California Voter registration, San Francisco. Mrs. Elizabeth C. Hamilton was working as a musician. By 1938, all of the Hamiltons were listed as Democrats. Mrs. Elizabeth C. Hamilton was employed as a teacher, and Miss Bettyclare Hamilton was an artist. They were all living at 110 20^th Ave. in San Francisco.

In 1940 the US Census listed the Hamilton household as including: William (75 yrs. old, commercial artist); Elizabeth (62 yrs. old, vocal teacher); and Betty Clare (25 yrs. old, art teacher). They were still living at the same house in San Francisco.

Hamilton passed away only a few years later, on Nov. 7, 1943. His obituary was published in “The San Francisco Examiner” on November 9, 1943 (page 15). It announced, “HAMILTON – In this city. Nov. 7, 1943. William F., beloved husband of Elizabeth C. Hamilton, loving father of Batty Clare Hamilton. Funeral Services will be held Tuesday afternoon. 1 o’clock, at the mortuary of Halsted & Co., 1123 Sutter St., near Polk.”

On Nov. 9, “The Times” in San Mateo reported:

“WILLIMAM F. HAMILTON.

Funeral services were held this afternoon for William F. Hamilton, for many years a resident of Burlingame, who died on Sunday. Surviving members of the family are the widow, Mrs. Elizabeth C. Hamilton, the well-known vocal teacher, and a daughter, Betty Clare Hamilton. The Hamilton residence was at 751 El Camino Real. Mr. Hamilton was an artist who made study of Indian relics a hobby and of which he had a large collection.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Joe Hart was a scenic artist at Sosman & Landis in 1891. He was mentioned by Thomas G. Moses that year as one of his crew painting on site in Duluth, Minnesota. This is not the same Joseph Hart who established the well-known vaudeville act, Hallen & Hart.

Joseph Henry Hart was born on Sept. 16, 1859, in Philadelphia, Pennsylvania. He was the son of Patrick Henry Hart and Amelia Giltrap. His parents were married in Ireland and started a family before emigrating to the United States. They were on November 21, 1841, in Manchester, England. The son of a tailor, Patrick Hart was working as a dyer at the time. Their oldest son John was named after his paternal father John Hart.  Their second son, George, was named after his maternal grandfather, George Giltrap, a farmer by trade. Patrick, Amelia, John and George emigrated to the United States and settled in Philadelphia, Pennsylvania where Joseph H. Hart was born.

The 1860 census listed the Hart family as including Patrick Hart (head, 42 yrs. old), Amelia (wife, 40 yrs. old), John (b. 1840, son, 19 yrs. old), George (son, 17 yrs. old) and Joseph H. (son, 2 yrs. old). I have yet to locate any other children born in the years between George and Joseph, c. 1843-1860.

The Hart’s were still in Philadelphia in 1862, when Joe was baptized that January at St. Mark’s Episcopal Church in Philadelphia.  Shortly after the Civil War broke out, Joe’s father enlisted in the Union Army and was mustered out that summer in the 143rd Pennsylvania Infantry. He returned home that fall and was working as a watchman by 1863.

In 1863, only Patrick and George were both listed in the Pennsylvania, U. S., Septennial Census, Patrick as a watchman and George as a laborer. I have not been able to locate any record of John in Philadelphia after the Civil War.

By the age of eleven, Joe and his parents moved his to Chicago. His older brother George was married by this point and remained behind. The 1870 US Federal Census listed George and Sarah Hart, were living on 12^th street in Philadelphia.

The same census listed Joe as a student and his father as a “Merchants Police” in Chicago.  Patrick Henry Hart was also included in the “Chicago City Directory” that year, listed as a “mer. Policeman,” living at 202 Polk in Chicago. Interestingly, the “Chicago Directory” also included a listing for a John Hart, working as a painter and living at 93 Mohawk. It is possible that Joe’s eldest brother was the first to move west, but there are SO many Harts that it is very difficult to pinpoint the exact one.

Little is known of Joe Hart’s early life in Chicago. By 1877 he was working as a painter, listed in the Chicago Directory as living at 145 Johnson.  He would have been seventeen years old at the time, and likely just entering the trade after attending public school. By 1878, he was listed as a scenic artist, now boarding at 14 Sholto. Five years later, he would still be listed as a scenic artist living on Shelto, but the house number changed from 14 to 11 over the years.

Sometime before 1876, Joe’s father passed away; I have yet to locate a death certificate. By 1880, however, the census listed Hart briefly living with his widowed mother at 260 Harrison St. in Chicago. As an itinerant artist, Hart worked throughout the region. The earliest mention that I have located of Hart’s scenic art work was in Topeka, Kansas, that year. He was painting stock scenery for the Topeka Opera House and became quite popular with the young people in town.

On August 20, 1880 the “Topeka State Journal” announced, “Scenic Artist’s Surprise” (page 4). The accompanying article reported, “Since Joe Hart, the scenic artist of Crawford’s new Opera House, came to Topeka he has grown to be wonderfully popular with our young folks, especially the ladies, and it is plain to be seen that he already holds a very enviable position in the affections of two or three of the select. While Joe was taking it easy last night before last after a hard day’s work, he was never more agreeably surprised in his life than when eight or ten young ladies and gentlemen all rigged up in their fanciest attires made their appearance at the hotel and inquired for him. Of course, Joe had to go with the crowd and the last seen of him before the latest hours of the night he vanished away in the soft moon light with a gentle Annie hanging to his arm. They went to the residence of one of the parties and enjoyed a delightful evening in his honor.”

Hart finished the project that fall. On Nov. 4, 1880, the “Weekly Kansas State Journal” reported, “STAGE SCENERY” (page 1). The article continued, “Nothing adds so greatly to the fine effect of an Opera House as the beauty, style and variety of its scenery. In this respect Mr. Crawford congratulates himself on having the most complete, latest improved and ample sufficiency in his new house of any theater west of Chicago. All the show people who have been here say so. For all this much of the credit is for Mr. Joe Hart, the scenic artist, who has done his work. Fourteen weeks ago, he slung the first paint. To-day the last stroke was made, the finishing touch put on, the brush thrown aside, the job pronounced finished and to-night leaves for Chicago. During all this time the drop curtain, the flies, the wings, and fifteen sets of scenery have been painted. Among them are some elegant pieces of architecture showing non but skilled minds and trained hands performed any of the labor. For instance, there is the three-arch chamber, double door chamber, centre arch chamber, all fancy parlor; the kitchen, prison, greenroom and landscape that are not surpassed anywhere for attractions of finish and beauty of style. Then the drop curtain itself is worth the praise of any artist’s skill. Mr. Hart is a true and honorable knight of his profession, and leaves behind him a monument of his abilities as an artist that will be admired long after he has climbed the golden stair. He has also made a great many friends with the young folks of Topeka by being a genial, sociable, and courteous gentleman. Should Sells Bros., or anybody else build an Opera House in Topeka, the JOURNAL will be pleased to recommend to them as a No. One scenic artist the name Joe Hart.”

The opera house in Topeka was one of many operated by L. M. Crawford.  Hart continued to paint for Crawford the next year. On June 25, 1881, the “Topeka State Journal” reported “L. M. Crawford returned home this morning from Chicago, and expressed himself enthusiastically on the future beauty and elegance of his opera house, He has engaged the celebrated J. M. Wood to do the interior designing and decorating, and being one of the finest artists in the country he has promised Mr. Crawford a job that can’t be beaten, Joe Hart the scenic artist who painted the scenes for the new old house, was reengaged to do the same work for this house.

J. W. Wood compiled a theatre scrapbook, dating from 1880-1889, now part of the Kansas Memory project collection. The descriptor for the artifact notes, “This scrapbook, compiled by J. W. Wood, contains programs, clippings, illustrations, and other memorabilia of the theaters and performers in Topeka, Kansas, in the 1880s. There are two photographs of the Grand Opera House, which was located at 615 SW Jackson Street in Topeka, and most of the programs are from their productions. A theatrical date book for the Grand Opera House covers the 1884 and 1885 season. These items belonged to Jay House.”  This is an extraordinary collection that gives so much insight into the variety of touring productions at this time.

Here is the link: https://www.kansasmemory.org/item/442684

Hart was still working as a scenic artist in Chicago during 1883, living at 11 Sholto. His mother, Amelia Hart, was now living at 44 Miller. Around this time, Joe Hart is listed on a marriage record, dated Feb 1., 1883, Milwaukee. Unfortunately, the digital record does not list the name of his wife. I believe that this is the same Joe Hart, however, as he soon begins listed as a scenic artist in Milwaukee. Interestingly, there is a later marriage announcement for Joe H. Hart and Lizzie Tipping, both of Chicago, by 1885. It was listed in the “Chicago Tribune,” on Feb 10, 1885 (page 8). I have uncovered very little about his first marriage, only that by 1908, he was listed as “divorced’ when married that year. Regardless, he continued to work in both Milwaukee and Chicago from the mid-1880s to mid-1890s.

In 1887 Joe Hart was working as a scenic artist in Milwaukee, associated with the Grand Opera House and living at 156 Huron. He remained in Milwaukee for quite some time and soon became associated with the new Academy of Music. On April 6, 1888, “The Inter Ocean” reported, “Milwaukee, Wis., April 7 – Special Telegram – H. H. Theile, leader of the New Academy Orchestra, has finished his new opera, “Fort Caramel; or Love in Leap Year,” and will give the initial production at the New Academy April 13 and 14…The stage settings will surpass anything seen here this season, especially the fort scene, that being the work of Joe Hart, scenic artist of the new Academy. In this scene will be used beautiful palms and tropical trees and plants, being appropriate as the story of the opera is laid on the coast of Florida” (page 9).

In 1891, he was working with Moses, Loitz, and Buhler in Duluth, Minnesota. It was a project for Sosman & Landis. On July 11, 1891, the “Duluth Evening Herald” specifical noted the work of Moses, Buhler and Hart.

In 1891, Thomas G. Moses wrote, “Mr. Landis and I went to Duluth, Minnesota, and closed a contract for $8.954.00, which is a very good price and a good-sized job. My work kept me at the studio until March 24th, when I left for Duluth and the Lyceum Theatre, a very fine building.  I found a good hotel in the Spaulding and soon got started on a fine list of scenes. Loitz and Joe Hart were with me, and we had every convenience that enabled us to do good work in a short time.  Mr. Miller the owner, started to work on a railroad section as a boss – saved and invested years ago. He is now worth over $12,000,000.00 which all came from Timber Land.  He is also the President of the Duluth Bank.  He was a fine man and enjoyed being with me. The weather was bitterly cold, but we all enjoyed it.  We worked nearly every night.  We had a big list of scenes and everything had to be done well!  Nothing pleased us better that to know that our work would be mentioned years after. One of the most complete outfits of any theatre.  We completed this work on June 1st and I received a check in full.  Something unusual.”

Joe Hart was also included in “A Biographical Dictionary of Scenographers 500 B.C. to 1900 A.D.” Here is the entry for Hart:

“Hart, Joseph (fl./ 1892), Grand Opera House, Los Angeles, CA, U.S.A. Assistant scene painter to JOHN H. YOUNG for The Ensign, performed at the cited theater on September 15, 1892. Bibliog. 097, playbill, page 288.” Hart would have met Young during the late 1880s in Chicago. By the end of 1888, Young moved to New York and was listed in the 1889 New Rochelle Directory as an New York artist, working at 541 W. 21^st In the 1891 and 1892 directories listed Young was listed as a scenic artist at 1445 Broadway, living in Pelhamville, New York. This did not mean that Young was only working in that area or region of the country. His studio may have been located at the Broadway Theatre in New York, but like all other scenic artists, he would have traveled for work. So, in 1892, Young traveled to California and worked with Hart at the Grand Opera in Los Angeles.  Both continued to work as itinerant artists, going wherever work was available, but establishing their home residence in a large metropolitan area.

From 1893 until 1896 the Milwaukee City Directory continuously listed Hart as a scenic artist, living at 691 30^th. During the early 1890s, Hart continued to live and primarily work in the Midwest. By the late 1890s, Hart relocated to New York and established his own partnership – Hart & Becker. I have yet to identify which Becker Hart was working with at this time; there were quite a few scenic artists with the last name of Becker painting at this time. Although it was short-lived, the two worked alongside some of the best-known artists in New York at the time, including former Sosman & Landis artists John H. Young, Edward Morange and Frank Gates. Hart, Young, Gates and Morange had all relocated from Chicago to New York within a few years of each other.

On October 21, 1899, the “Buffalo Review” listed the scenic artist’s credited with painted settings of “McFadden’s Row of Flats” (page 5). Hart & Becker were listed with Gates & Morange. This was a touring show that appeared at multiple venues across the country, with mechanical effects delivered by Hagan & McDonald. On Nov. 12, 1899, the “Buffalo Times” also listed Hart & Becker as the scenic artists who painted scenery for the “Green Room Fun” at the Star Theatre (page 24). The article reported, “The scenery was made by Claude Hagan of the Fifth Avenue Theater studio, New York, and was designed and painted by Messrs. Hart & Becker.”

Hart & Becker were still working together a year later. On January 14, 1900, the “Buffalo Courier” listed Hart & Becker’s scenic art contribution for “The Sporting Duchess” at the Star Theatre (page 21). The article reported the involvement of several New York scenic artists scenic artists, including John H. Young, Joe Physioc, Ernest Albert, Homer Emens, Gates & Morange, Platzer, and Hart & Becker.” Hart eventually left his partnership with Becker to paint for Gates & Morange. He was working for the firm when his name made the newspapers in 1908.

On June 7, 1908, the “New York Times” reported, “WEDDED TO A SCENIC ARTIST” (page 4). “Miss Ross’s Ostensible Visit to Washington Really a Marriage Journey.”

The article continued:

“We have been married. Will be home the first of the week,” was the message which Mrs. William Caire of 40 West 128th Street received last night from her sister, Miss Grace Elinor Ross, who went to Washington, D.C., a week ago. Ostensibly to visit friends there. That the young woman intended to become the bride of Joseph H. Hart, the principal scenic artist in the Gates-Morange studio, at 155 West Twenty-ninth Street, was never suspected by her sister, although Mrs. Caire knew that Mr. Hart was to be in Washington and that he wired to Miss Ross to come to Washington while he was there.

“Grace and Joe had been engaged for about a year,” said Mrs. Caire last night. “Mr. Hart had been doing some work in Richmond, Va., for the last month or so, and recently completed it, He has to stop in Washington on his way home, and, as his wedding to my sister was to have taken place shortly, anyway, I suppose they decided it might as well be in Washington.” The Washington D.C. compiled marriage index gave the following information: He was divorced , age 45, with birthdate of 1863. The marriage took place on June 6, 1908.  Grace E. Ross was single, white, 30, with birthdate of 1878. Their license was published on June 9,m 1908 in the “Washington Herald. “Joseph Hart, 45, and Grace E. Ross, 30, both of New York City. Bishop F. M. Bristol.

Hart continued to work as a scenic artist in New York for at least another decade before returning to Chicago. He is quite difficult to track in the years following WWI. I have yet to locate any listing for him in either the 1920 or 1930 census reports. Joseph H. Hart died on Sept. 17, 1939, in Chicago. He is buried at Elmwood Park Cemetery, River Grove, Cook, Illinois.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

John Fielding (1855-1915) was a scenic artist who worked at Sosman & Landis from approximately 1896 to 1915. He was born in Ireland between 1855 and 1856, and then emigrated to the United States in 1873. To date, I have uncovered nothing about Fielding’s childhood in Ireland, emigration to the United States, or his early scenic art career in the United States.

The earliest mention that I have located about Fielding’s work as a scenic artist is from 1887. That year he was working at McVicker’s Theatre in Chicago and living at 144 N. Sangamon. He was still living at Sangamon and working as a painter in 1890. Although I have uncovered very little information about Fielding’s scenic art projects, he remained connected with McVicker’s Theatre until the mid-1890s. In 1894, he was listed as a scenic artist at the venue, working alongside electrician Mortimer C. Richards and properties master Robert Norton.

On Dec. 14, 1894, the “Chicago Tribune” reported, “Novel Exhibit at the Doll Show. One of the novel and interesting exhibits at the Charity Doll Carnival which opens next Monday morning at Battery D will be an exact facsimile of the stage of McVicker’s Theatre, which will be a contribution of Robert Norton, property man; John Fielding, assistant scenic artist; and Mortimer C. Richards, electrician of that playhouse. Work on the miniature stage has been in progress more than a week and yesterday it was nearly completed. The proscenium, which is made of papier mâché, and exactly similar in design and form of McVicker’s, is five feet six inches wide and fir feet nine inches high. The stage is about five feet deep. The setting is the one used in the second act of “The American Heiress,” which the stock company produced last summer. It shows an Italian Garden scene, with the Bay of Naples and glimpses of Naples and Herculaneum in the distance. The scene is made from the original models, which are on a scale of one-half inch to the foot, which will make it just one-twelfth the size of the stage at McVicker’s. It is wired for electric border and side lights and other devise used in illuminating stages. Mr. Norton said yesterday that it required less work to equip the regular stage with new scenery than the one he is now arranging for the charity show.”

A 1900 US Federal census report recorded that he was married Elizabeth Mulkally in 1885, although I have yet to locate any marriage license or public listing of the event. Unfortunately, there is no 1890 or 1910 census report to confirm any of this information. However, Elizabeth was born in Chicago on November 22, 1856. She was the daughter of John Mulkally and Jennie Flaherty, both Irish immigrants.

In 1896, the “Chicago City Directory” listed John Fielding as a scenic artist, living at 2128 Wilcox Avenue. He would retain this title in the city directory for the next few years, before reverting to painter and stagehand. 2128 Wilcox Avenue would also remain the Fielding family home for decades, well after his passing and into the 1940s.

Jon Fielding was also mentioned by Thomas. G. Moses in 1899. That year, he traveled to California with Moses and Edward Loitz. The three painted scenery for John C. Fisher at his opera house. Of the project, Moses wrote, “June 2^nd, found me on my way to San Diego; Loitz and John Fielding going with me.  Lost no time in getting to work.  I had a nice room at the Brewster Hotel.  Had my meals at Rudders, as Fisher paid all my expenses.  My salary was clear, and a lot of night work was necessary to complete the work on time.  The company soon arrived and started rehearsals.  We went through two earthquakes which were a sensation to many of us.”

The fact that Moses selected Loitz and Fielding to accompany him on site says a quite a bit about their basic skills as scenic artists. Moses traveled with a select few individuals over the years, and retained even fewer of them. Keep in mind that in 1899, Moses and Fielding were both 43 yrs. old, and Loitz was 35 yrs. old. This was an incredibly experienced scenic art crew to have on site in San Diego. For years, Loitz had accompanied Moses from one job to the next, whether it was a project for Sosman & Landis or another studio. In a sense, Loitz was Moses’ “right-hand man” for almost four decades. Fielding must have also been an incredibly skilled painter, or Moses would not have brought him along.

Scenic artists who accompanied Moses were highly-skilled and fast painters; anyone who did not meet up to his standards did not last for long. So, the fact that Fielding was on site with Moses, at this particular point in Moses’ career suggests that Fielding was talented.  For a little more context, 1899 was a pivotal point in Moses’ career. By 1900 he left the firm to establish his own studio, partnering with William F. Hamilton to establish Moses & Hamilton. However, in 1904, Sosman pleaded with Moses to return to Chicago. At the time, Perry Landis was incredibly ill and Sosman need the help. When Moses returned to Chicago, he became the vice-president of the firm, and was directly responsible for all design, construction, painting and installation from that point forward.

When Fielding was working with Moses in 1899, it was in the midst of a hiring war, as Henry Savage, John C. Fisher, and Jacob Litt each wanted to hire Moses on their team. Sosman & Landis did not want their star scenic artist to leave their studio, and were enticing him to say. At the time, Moses recorded that his “vagabond shoes” were “longing to stray.”

By 1899 Moses had already painted “special scenery” for Litt’s production of “The Club’s Baby,” an English farce at McVicker’s Theatre. Litt wanted to hire Moses as part of his production team, offering a substantial salary to leave Sosman & Landis. At the same time, Henry Savage asked Moses to paint for his opera company in New York.  John C. Fisher’s was for the short term and included painting all of the settings for Mme. Modjeska upcoming tour. Moses had to make a decision and wrote, “Litt was rather put out when he learned I was going with Fisher and Savage.” This also did not sit well with Sosman and Landis, as they wanted Moses cranking out work back in the main studio. Keep in mind that when Moses accepted work outside of the main studio, Sosman & Landis received their cut, so they really could not say “no” to him. Moses’ contract with Fisher was from June 2 until August 10, often a good time to take a break from the main studio.

Fisher’s Opera House had opened in 1892, with the building situated on an entire block between Fourth and Fifth Streets. The stage was 43 feet wide by 43 feet deep with a grid 74 feet above the stage floor.  The venue was illuminated with an electrical system; 1,000 sixteen-candle power from Edison incandescent lamps. Moses recorded that he, Loitz and Fielding lost no time in getting to work immediately upon their arrival in San Diego. On August 27, 1899, the “San Francisco Chronicle” reported, “Thomas G. Moses of New York and a staff of well-known artists have been at work for the past few weeks painting scenery for the tour. This includes elaborate productions for the play of “Marie Antoinette,” which is to be the most pretentious in Modjeska’s repertoire. Other strong plays are “Macbeth,” “Marie Stuart,” “Much Ado About Nothing,” “Gringoire,” and the “Ladies’ Battle,” the last two being a joint production” (page 31).

Moses wrote that his “salary was clear and a lot of night work was necessary to complete the work on time.” The project went well and Moses wrote, “The Modjeska company gave me a fine send-off – a large tent was put up on a vacant lot; refreshments were served and different members of the company did a little stunt. After a hearty God-speed, I was off for New York City. I regretted not being able to stay until Modjeska opened, but I knew I had a big time ahead of me in New York.”

Fielding returned to Chicago, and continued to work in the Windy City for the next sixteen years, living with his wife and daughter. Fielding passed away on July 1, 1915, and was buried July 3 at Mount Carmel Catholic Church Cemetery, Hillside. At the time of his passing, his occupation was listed simply as a “stagehand,” and he was still living at 4213 Wilcox Ave. John Fielding was only 58 years old when he died.

His obituary was published on July 2, 1915, in the “Chicago Tribune”-
“John Fielding, beloved husband of Elizabeth Fielding, fond father of Genevieve Fielding. Funeral from his late residence, 4213 Wilcox-av., Sat., July 3, at 9 a.m., to St. Mel’s church, where high mass will be celebrated; autos to Mount Carmel. Member of Married Men’s sodality. Member of I. A. T. S. E. local No. 2. Presentation ct. No. 731, C. O. F.”

His death certificate listed that his father’s name was also John Fielding, so, I began exploring the various lives and careers of various men named John Fielding, focusing on one in particular who worked in the theater profession.  The problem with touring theater folk, however, is that they are often not listed in nineteenth-century census reports. Being on the road so much of the time meant that performers and stage technicians were often missed, many not having a permanent address. The best option for pinpointing theatrical activities of touring individuals is newspaper advertisements, articles, and programs.

There was another John Fielding who must be mentioned at this point; his birthdate, Irish lineage, and work in Chicago is a little too coincidental to dismiss entirely.

John J. Fielding (b. abt. 1844) and Maggie Mcloughlin Fielding (1848-1913) were a well-known Irish song and dance team, working as comedic performers in the 1870s and 1880s. They were members of Tony Pastor’s famous road company, and performed at theaters in both England and the United States. In 1870, the US Federal Census listed John and Maggie Fielding as performers, living in Cincinnati, Ohio. On March 17, 1872, the “Detroit Free Press” reported, “On Monday John and Maggie Fielding, character artists will make their first appearance in this city” (page 1). They soon moved to Chicago, however, and began performing at the Bohemian Hall on the West side of Chicago.

There was another Chicago mention that is significant…

Fielding was most notably associated with the Jolly Corks in New York and organized the first lodge in Chicago; this later became Lodge No. 4 of the Benevolent and Protective Order of Elks (BPOE). Fielding is even featured in “The Official History of Chicago Lodge No. 4 B.P.O.E.” by Charles Edward Ellis, published in 1910.

For a little touring context…in 1873 the two were performing at the Bowery Theatre in New York, but soon returned to England in 1874 where they performed ay Marylebone Music Hall. In London, there were billed as “American Delineators of Hibernian Humour, whose successful reception here proves that a refined entertainment can be appreciated by a refined audience” (“The Era,” 13 Dec. 1874, page 8).  But 1875, however, the were back in the US and performing at New York’s Third Avenue Theatre.  They soon moved back to Chicago where they remained until 1878.

On September 8, 1878, the “Chicago Tribune” announced, “Mr. and Mrs. John Fielding left yesterday for Detroit to begin an engagement at the New Coliseum of that City” (page 12). On May 18, 1879, the “Detroit Free Press” reported, “COLISEUM – Two separate and entirely new attractions to Detroit audiences will be presented this week at the Coliseum, the first will be J. Z. Little, in the romantic nautical drama ‘Riving Jack, or Saved from the Wreck,’ and the second being a capital list  of specialties. John and Maggie Fielding will appear in an adaptation of ‘H.M.S. Pinafore,’ by Mr. Fielding called ‘Little Pinafore,’ and in which the most popular music of the opera is reproduced” (page 6).

While John Fielding Sr. and his wife were living and working in Detroit that year, another John Fielding was playing on the baseball team for Haverly’s Theatre in Chicago, likely John Fielding Jr.

On May 3, 1879, the “Inter Ocean” reported, “The attaches of Hooley’s and Haverly’s theaters got them together yesterday and had some fun. The amusement was the popular game of baseball, nine from one house bracing themselves again nine from the other. The Hooley’s Club came off victor, beating the Haverly club by six runs, the score being 30 to 24…The nines were composed as follows: Haverly’s John McKinzie, A. W. Morse, Charles Huck, Henry Howland, Aaron Peterson, John Bell and John Fielding” (page 6).

The 1880 US Federal Census listed the couple living in New York City, but they continued to tour.

On September 3, 1882, the “Detroit Free Press” announced, “A Second Debut” for the John Fielding Company” (page 15). The article reported that John Fielding, “with his wife Maggie, has been known during the past fifteen years as one of the best vaudeville attractions in the country.” The article further described that Fielding “made his first appearance on stage in the old Metropolitan Theater, which stood where the Theatre Comique building now is. The debut was made twenty-three years ago under the management of Ed Sherlock. Mr. Fielding having been graduated from the composing room with a desire to play ‘leads’ and ‘heavies’ in a legitimate dramatic company. He soon realized that he was better calculated for comedy and for several seasons played comedy in character parts in stock companies throughout the country. Then the variety theater coming in vogue, Mr. and Mrs. Fielding adopted that branch of the profession, making Irish dramatic and musical sketches a specialty, establishing themselves firmly in the public. Now after twenty-three years of show life, Mr. Fielding starts with his first company, playing the Irish comedy drama entitled ‘False Friendship,’ and he feels that it will be a good idea to take the plunge in the city in which he made his first appearance.” On October 2, 1881, the “Detroit Free Press” announced,

“Park Theater. Eight performances, including Tuesday and Saturday matinees, will be given at the Park Theater this week by Col. J. H. Wood’s ‘Electric Congress’ and Harry Richmond’s Comedy Company. Among the principal people in the organizations are the well-known John and Maggie Fielding” (page 13).

On September 5, 1883, the “Detroit Free Press” announced, “Maggie Fielding, of celebrity in the theatrical world, has joined the Barry Fay Combination. Her husband, John Fielding, is manager of the Novelty Theater at Muskegon” (page 4). His stint at the Novelty Theatre was short-lived, and soon he established his own company. By 1884, John Fielding’s Company was performing at White’s Theatre in Detroit. On March 28, 1884, the “Detroit Free Press” reported, “WHITE’S – There was a large audience at White’s Theatre last night to witness the first performance in this city by John Fielding’s company, the play being a very active and continuously ludicrous composition called, ‘The Corner Grocery’ and based on the antics and incidents in the life of that reprehensible myth, ‘Peek’s Bad Boy.’”(page 4).

The Fieldings were still touring in the late 1880s. In 1886, they passed through Illinois, with the “Rock Island Argus” celebrating the performances of both John and Maggie (15 Oct. 1886, page 4). On February 22, 1887, the “Nebraska State Journal” announced, “John and Maggie Fielding in song and funnyisms at the People’s Theatre tonight” (page 8). This same year John Fielding Jr. Was working as a scenic artist at McVicker’s Theatre in Chicago. Although, I have yet to locate a death certificate or obituary notice, it appears that John Field passed away in the late 1880s.

By 1890, Mrs. Maggie Fielding, was back in Chicago, this time living by herself at 293 S. Clinton St.  At the same time, scenic artist John Fielding was working as a painter and living at 144 N. Sangamon in Chicago. Although a widow, Maggie Fielding remained quite well-off and continued to work as an actress in Chicago for another decade. Eventually, she moved east, where she he passed away during the summer of 1913. On Dec. 31, 1913, the “Evening World” in New York announced, “Maggie Fielding, died July 15, 1913; total estate $7,716; net value $6,378” (page 7).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

George Schultz was a scenic artist at Sosman & Landis in 1911, although he may have worked sporadically worked for the firm since the 1890s. In 1911, Thomas G. Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Sosman & Landis’ main studio was located on Clinton St. The 20^th Street Studio was a secondary space that primarily focused on specialty projects, such as Masonic scenery.

Schultz is primarily remembered for his easel art, especially his landscapes and marine scenes. Like many scenic artists, he began his career in ornamental arts. Purportedly, his was employed as a “decorative painter” by the age of fifteen, painting pieces of china. Although this is noted in the majority of biographies about Schultz, I have yet to locate any information pertaining to a specific company at this time.

Schultz was born on April 17, 1869, and grew up in Chicago. His parents were Walter E. Schultz and Elizabeth Moizen. He was the eldest of three sons born to the couple. His younger brothers were Charles and Walter Schultz Jr. As a young child, his family’s household also included a grandmother, Anna Regnery.

By 1880, the US Federal Census listed the Schultz family as living in at 339 N. Franklin St. His father was employed as a bookkeeper that year, with George listed as a student. He was the the only child old enough to attend school at the time. The household now included a different maternal grandmother, Sarah Mazin.

After attending public school, Schultz began to take classes at the Art Institute of Chicago. By 1888, the Chicago City Directory, listed his occupation as an artist. At the age of twenty-one, he was living on his own at 2163 Archer Ave. Between 1889 and 1925, Schultz exhibited over one hundred works at the Art Institute of Chicago Annuals. Like many scenic artists at this time, he joined numerous fine art organizations, and was a member of the Palette & Chisel Club, the Municipal Art League of Chicago, the Arche, the Cliff Dwellers, the Union League Club, and the Chicago Water Color Club. Schultz was a charter member and later president of the Water Color Club.

He was featured in the “Chicago Tribune” on January 18, 1891: “George F. Schultz, a young water colorist who, when he goes to nature for inspiration frequently does some remarkably clever things, has taken a studio in the Japanese Building” (page 12). The Japanese Building was located at the corner of State and Jackson Street, with dozens of suites for artists and musicians. Schultz also exhibited his work at O’Brien’s Gallery in 1892, and by 1893, partnered with William Wilson Cowell to operate a studio on Rush Street. On April 23, 1893, the “Chicago Tribune” announced “Messrs. Cowell & Schultz have their establishment on Rush Street a number of their recently finished water-colors. Some marine views are cleverly executed, especially showing a number of fishing boats at anchor on a misty morning. Two landscapes by Mr. Schultz are especially pleasing. Both are evening scenes, one a gray effect and the other a sunset” (page 37).

He married Katharine Karr Hagenlotha (1869-1942) on Sept. 20, 1893.  The couple celebrated the birth of four children between 1894 and 1907; three daughters and a son. His children were Beatrice M. (1894-1982), Katherine (1899-1940), George Jr. (1899-1940) and Florence (1907-1990). As his family grew, so did his reputation as an easel artist.

In the 1890s, Schultz’s artistic career began to soar. He was featured in a solo exhibition at Thurber’s Gallery in 1896, again exhibiting at there in 1898. Regional sketching trips included Delavan, Wisconsin, the coast of Maine (Monhegan Island), Indiana and even Mexico. On Feb 16, 1896, “the Chicago Tribune” reported , “Last summer he visited Monhegan Island, the favorite resort of Edwards. Triscott, and other Eastern artists, away up on the Maine Coast. Most of the pictures he now shows are Monhegan views and the result of his sojourn. Many are coat scenes. In nearly all rocks abound, and Mr. Schultz has been eminently successful in catching the effects of sun and shadow on sea and land and rocky shore. One of the pictures, “A Misty Morning,” the artist calls it, is a really powerful bit of color work such as is rarely attained with aquarelles. The sun breaking through the mist and the softened aspect of the rocks are presented with such strength as many a man would have difficulty showing in oils” (page 28).

On April 10, 1898, the “Chicago Tribune” advertised his twenty-five paintings on exhibition at Thurber’s, including “Gray Day, “ “Along the River,” “Hoeing Cabbages, “A Lowery Day,” “Quietude,” and “Morning” (page 43). An illustration of “Hoeing Cabbages” even accompanied the article.

Although primarily known for his watercolor studies, Schultz also worked in oils. An article in the “Inter Ocean” commented on Schultz’s “delicate, loose and pleasing” technical skill.

In 1902, Schultz’s work “Fishing House” was exhibited at the Municipal Art League of Chicago’s annual exhibition, That same year his “Reflections” was featured in the March issue of “Brush and Pencil.” By 1906, artworks by Schultz were accepted as part of the Palette and Chisel Club’s permanent collection.  His membership in the Club bought him into contact with numerous scenic artists at Sosman & Landis, including Thomas G. Moses. The next year, Schultz’s paintings were featured in a solo exhibition at the Art Institute, and he became a charter member and secretary of the Chicago Water Color Society. He was later elected as the club’s president in 1912.

The 1910 US Federal Census lists the Schultz family living at 1158 Perry Street, listing Schultz as an “artist” who worked in the “picture paint” industry. In 1911, Schultz was listed as the secretary for the Chicago Society of artists. Fellow scenic artist Frank C. Peyraud was also an officer in the organization at the time, both working at Sosman & Landis. Despite success as easel artist, both continued to paint for the stage. Again, in 1911, Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Schultz is no different than the hundreds of scenic artists at this time who were recognized for both their easel art and stage art. It was advantageous to live with one foot in the fine art work and the other in the theatre industry; a mutually beneficial situation, joining networks and resources from the two worlds. The promotion of these two compatible careers had already been recognized in the 1880s when the first Scenic Art exhibition took place, publicly recognizing the work of scenic artists as fine art.

On April 30, 1913, “The Dispatch” of Moline, Illinois, reported, “Rock Islanders who are much interested in art will find a fine display at the Harper House which includes about sixty canvases by leading American artists. The collection was sent by the Artists’ Guild of Chicago for the purpose of promoting art and encouraging a keener interest in the works of American Painters” (page 3). The show was advertised as “direct from the Fine Arts building of Chicago.” It not only included the work of Schultz, but also another former Sosman & Landis scenic artist Frank C. Peyraud. In 1913, he painted a lovely picture of his daughter Beatrice. It recently sold at Brunk  Auctions for $2,016, much more than the estimated $1,000-1,500.

He exhibited “Converse with Nature’s Charms” at the Carnegie International in 1914, also exhibited at the Iowa State Fair that year in the newly constructed women’s and children’s building on the fairgrounds. In 1916 and “The Voice of the Brook” at the Pennsylvania Academy of the Fine Arts in 1916. On May 19, 1918, the “Chicago Tribune” reported, “the William H. Tuthill prize of $100 was awarded to George F. Schultz for his marine “Surging Seas.” The prize was limited to a Chicago artist and to a pure water color, as Mr. Tuthill wishes to encourage the medium. The painting shows an angry, restless seas hurling itself in vain attacks against a rock guarded shore from which is it thrown back again and again with increasing violence till over the green hunger of the tide a cloud of white foam is cast breaking back on itself in feathery masses” (page 47). That same year, a solo exhibition of Schultz’s work was presented at the Marshall Field and Company department store in Chicago. This is supposedly his last-known solo exhibition. I am skeptical as the art historians who state this also cite an incorrect year for his passing.

By 1920, the couple was still married and living in another rental home at 4013 Green View Ave., still listing Schultz’s profession as “artist” in the “professional” industry. Their children were still living at home, with Beatrice working as a clerk in the Oil Concern industry, the younger Katherine working as a stenographer in the Building Waters industry, and George Jr. working as a tire-maker in the automobile Pates industry. The youngest child, Florence, was still listed as attending school.

Within the next ten years, everything changed for Schultz. His marriage falls apart, he moves out and his children remain with his ex-wife who does not acknowledge the separation; her husband just fades from the familial picture.

The 1930 US Federal Census for George Schultz listed him as a divorced male, “working on account” as an artist. He was now living in a rental unit at 1521 Warren Boulevard. Meanwhile, his wife Katherine was still listed as married, now listed as the head of household, living at 1900 Newport Ave. in Chicago. George F. Schultz Sr. is no longer at home. Her household was listed as including her son George Jr., daughter Florence, daughter-in-law Yvonne Schultz, Son-in-law Owen M. Roubadeaux, daughter Beatrice M. Roubadeaux, granddaughter Florence M. Roubadeaux, and a boarder named Henry J. Benallack.

Although many art historians, fine art galleries and online sellers list his death as 1934; this is simply incorrect. This is the problem with cut-and-paste biographies; an incorrect statement is repeated so much that is becomes accepted fact. In actuality, George lived until 1950. In May 1939, George Frederic Schultz applied for Social Security. The next year, he was included in the 1940 US Federal Census.  At the time of the census report, Schultz was 70 yrs. old and still employed as an artist in the “Landscape picture painting” industry. He was living in a multi-unit building at 1454 Sedgwick St. in Chicago, by himself. He lived for another decade, outliving his ex-wife by eight years. My guess is that he became estranged from his family over the years.

His wife Katherine passed away on September 22, 1942. Her obituary was published in the “Chicago Tribune” on Sept. 24, 1942 (page 26): “SCHULTZ – Katherine Karr Schultz, Sept. 22, loving mother of Mrs. Beatrice Roubadeaux, Florence, and the late George Schultz, and Mrs. Katherine Eger, fond sister of Mrs. Rosalie Willistein. Funeral Friday afternoon at 2 o’clock from funeral home, 6216 N. Clark st, to Graceland.”

Schultz passed away on Sept. 5, 1950. His obituary was published in “The Chicago Tribune” on September 7, 1950 (page 22):

“SCHULTZ – George F. Schultz, 1434 Sedgewick street, Sept. 5, 1950. Beloved husband of the late Kathryn Schultz, fond father of Beatrice Roubadeaux and Florence Schultz, brother of Charles H. Schultz. At chapel, 2121 W. 95^th street, where services will be held Friday, Sept. 8, at 11 a.m. Interment Mount Hope.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Nick Pausback was a scenic artist who worked at Sosman & Landis from approximately 1908 until 1916, primarily painting at the firm’s annex space on 20^th Street in Chicago.  Although the firm’s main studio was located on Clinton St., they frequently leased and staffed annex spaces during times of peak productivity. These secondary spaces handled much of the “specialty work” that was contracted, or subcontracted by other companies. The specialty work was directly supervised by Thomas G. Moses (1856-1934). Beginning in 1904, Moses was responsible for all design, construction, painting and installation of projects at Sosman & Landis at both studios.

In 1908 Moses, wrote, “During this year I have split my time between 20^th Street and Clinton Street.  Did a great many scenes and drop curtains and we kept a good force at 20^th Street.  I depended a great deal on Pausback to look after the work while I was away.”

Nicholas “Nick” John Pausback was the second of seven children born to Nickolas J. Pausback (1853-1900) and Caroline Helbing (1859-1943). Born on May 5, 1881, in St. Louis, Missouri, his siblings were: Maria Pausback (b. 1879), Joseph William Pausback (b. 1883), Eva Pausback (b. 1884), August Pausback (b. 1885), Estelle “Stella” Pausback (b. 1888), and Clara “Kate” Pausback (b. 1889).

In 1900, Pausback was still living at 3113  Magnolia Street, St. Louis, with his family. At the time, he was 19 yrs. old. The US Federal Census that year listed Nick’s occupation as “artist” in the “painting” industry.  Interestingly, he was the only child in the family who worked in the theatre, while his siblings were employed as milliners, clock salesmen, mill clerks, and saloon employees. Pausback’s mother, Caroline, even worked at a grocery store.

By 1903, Pausback was working as the scenic artist at the Imperial Theatre in St. Louis. On January 21, 1903, the following Want Ads was placed in the “St. Louis Globe-Democrat” on page 8:

“WANTED – Boy to help scenic artist. Apply Pausback, Imperial theater, stage entrance, 9 a. m., Wednesday.” Regradless of his position at the Imperial, Pausback continued to paint scenes at other theaters throughout the region.

In 1905, he painted scenery for the new Grand Theatre in Owensboro, Kentucky. On July 16, 1905, “The Owensboro Messenger” reported, “The painting of the scenery at the Grand will be finished this week, and no theater in the country will be more elegantly equipped. The main drop curtain is an art creation of exceptional merit. In the center is a Venetian scene of beautiful design. All the scenery is artistic and varied in design. There are sixteen pieces of woods scenery, two drops, four borders and ten wings. There are fourteen pieces in a fancy chamber set. In addition  to these there is scenery showing plain interior rooms, kitchen, a prison scene, a street scene, landscapes and garden. All of the work was done in the house. The painting was done my Nick Pausback, of St. Louis, who has been at work at the Grand for six or seven weeks. The frames were also made in the building. A rack for scene painting is permanently installed in the building, and new scenery can be painted as required. The Grand will open the latter part of August, with Four Hunters, a musical comedy” (page 5).

On July 18, 1905, a second article in the “Messenger” provided a little more information about Pausback’s works: “Mr. Nicholas Pausback, of St. Louis, who has the contract for the painting of the scenery, is diligently at work and will be through in a few days. He painted the finishing touches on a large outside drop curtain Saturday morning. This curtain is made of heave asbestos. It is painted with a beautiful Venetian scene. It is a most artistic piece of work. Two drop curtains and several fly wings will finish the equipment of scenery and Mr. Pausback will begin them immediately. One of the scenes is fitted up with sixteen pieces and another has fourteen. The latter is a fancy parlor scene painted in Japanese pattern. It is very handsome. Thirty hanging pieces, including drop curtains, etc. will be in place during any performance” (page 6).

On July 22, 1905, the final article in the “Messenger” reported, “The work of fully equipping the new Grand theatre is progressing rapidly. Mr. Nicholas Pausback of St. Louis is the artist employed. He has painted several scenes and is now at work on the others. There will be about twenty hanging scenes and about seventy-five all told. The greater part of these will be in frames. Stage carpenter McDaniel, has the work of making the frames and fitting them well in hand. When this work is completed the Grand will have one of the very best equipped of stages. The two “tormentors,” painted by Mr. Pausback, having been placed and they are receiving the favorable criticism of all who see them.

That same year, Pausback was also engaged to paint new scenery for the new opera house in Central City, Kentucky, located ninety miles due north of Nashville, Tenness.  On July 26, the “Messenger: announced, “Mr. N. Pausback, who is engaged in painting scenery at the New Grand theatre, has returned from Central City, where he has secured a contract to paint new scenery in the opera house at that place” (page 8). His work in Central City did not last for long. Only four years later, the opera house went up in flames; the fire started during commencement exercises for the Central City School’s music class. The music teacher and children ranging from ages 5-12 were the main victims.

Just prior to his work in Kentucky, Pausback was married on June 29, 1904. His bride was Ottilia Creszenzia Groebl, and the wedding ceremony was held at St. Francis de Sales Catholic Church in St. Louis. Ottilia (1883-1966) was the daughter of Peter Gröbl and Creszenzia Gmeinweise. Nick and Ottilia celebrated the birth of six children: Nicholas, Elvira, Raymond, Mary, Lawrence, and Therese.

After the birth of two children, Pausback moved his family to Chicago in 1907, where the remaining four children were born. Although it remains unclear as to when Pausback started at Sosman & Landis, by 1908 he was supervising the 20^th Street Studio while Moses was away.  At In 1909, Moses wrote, “In January I went to Clinton Street to stay for some time.  Sosman seemed to think I was needed there more than at 20^th Street.  Pausback took charge of the 20^th Street studio.” Pausback had already taken charge of the 20^th Street studio during Moses’ absences the year before. 

The 1910 US census listed Pausback as an artist in the scenic studio industry, living with his family at 651 West 61^st Place in Chicago. In 1911, Moses again records that Pausback took charge of the 20th Street studio, writing “We started Brewer’s work at the 20^th Street studio, with an extra number of men.  Pausback had his hands full; [Fred] Scott acted bad.  Got Geo. Schultz on the staff at 20^th Street.” Pausback continued to work at Sosman & Landis until 1917.

Pausback also started taking outside projects with Moses, grabbing work whenever he could to support his growing family. In 1916, Moses wrote, “Pausback went to the 20th Street studio, part of which we rented for a couple of months.  We put plenty of help with Pausback to rush the work through, and I think he will be able to pull it out, as we are too busy at Clinton street to take much of it.” Pauback also traveled with Moses to New York that year at Thanskgiving. Of the project, Moses wrote, “We expressed the scenery and November 28^th it was all up.  I did the society stunt while Nailer and Pausback put all the work up, and for a wonder everything fitted.” Sometime during 1917, Pausback began working for another company.

In 1918, Pausback’s WWI Draft Registration listed that he was working in the advertising department of Swift & Co. in the Union Stock Yards of Chicago.

Already in 1903, Swift & Company employed 5000 workers at its slaughtering plant in Chicago’s Unions Stock Yard. Here is a little history about the company: http://www.encyclopedia.chicagohistory.org/pages/2869.html

This was a big career shift for Pausback, and I have to wonder what type of advertising he was doing for the firm; whether it was designing advertisements, painting signage, or something else for the beef business. In 1918, Pausback and his family were living at 6539 Ellis Ave. In his draft registration, Pausback was described as tall and slender, with grey eyes and dark brown hair.

The 1920 US Federal Census listed the Pausbacks as still living on Ellis Avenue in Chicago, with Nicholas’ occupation again listed as an advertiser in the “Packing Co.” industry [beef packaging].

Eventually Pausback struck out on his own and established a scenic studio. In 1927 Pausback Studios was located at 3727 Cottage Grove Ave., Chicago. Things were continuing to look up for Pausback by the late 1920s; work was plentiful, and there was a new and insatiable client – academic theatre. Educational and academic institutions became a primary client for Pausback Studios, as well as many theatrical supply firms at the time. Public schools were in a constant state of demand. Publications focused on how amateur productions could forgo the need of any theatrical expert – “do it yourself” became a popular approach; you just needed enthusiasm and an instructional manual to produce a show.  And this is what Pausback also cashed in on. In 1928 Pausback also wrote a catalogue entitled “Stage Craft.” It was listed in the “Catalogue of Copyright Entries,” published by Pausback scenery company in Chicago, 1928. His publication was included in the “Catalogue of Copyright Entries, 1929.  I have yet to actually see the book, however, Worldcat shows copies in New York, Washington D.C. and Cleveland, here is the link: https://www.worldcat.org/title/stage-craft/oclc/5438657&referer=brief_results

Pausback also began partnering with other business leaders to deliver scenery for city events. On Dec. 2, the “Chicago Tribune” pictured Pausback in the backrow of a group of men under the heading “Business Men Help Plan Yule Trees” (page 12). He was one of several Chicago business men who met to plan the construction, lighting and decoration of giants Christmas trees in Chicago parks for the 1928 holiday season, partnering with F. H. Fisher of F. H. Fisher & Co; W. E. Bell, electrical engineer of the south park commission; Gerhardt Meyne of the Meyne construction company; C. N. Hidge of the Illinois Bell Telephone Co.; A. J. Vogele of the Commonwealth Edison company; Harry S. Towle, electrical engineer of the west park commission; Pierre Bloiuke, architect; and Thomas F. Queenan, electrical engineer of the Lincoln park commission. Pausback presented some new ideas for the outdoor tree décor. On Dec. 9, 1928, the “Chicago Tribune,” reported, “N. J. Pausback of the Pausback Scenery company presented a display of sample ornaments designed to meet the requirements of trees of gigantic size. Among these was a modern idea of spangles, some of them ten inches in diameter of various shapes and colors. Another decorative feature consisted of metal balls in all colors and sizes, each covered with silver sparkles” (page 93).

He and his family continued to prosper, despite the economic downturn after 1929. Many of his family gatherings and other social events were announced in the “Southtown Economist.” On February 21, 1930, the “Southtown Economist” announced,  “Mr. and Mrs. Nicholas J. Pausback and their children, Lawrence and Teresa, 6606 Woodlawn ave., returned Sunday from a motor trip to St. Louis where they visited relatives” (page 14). Later that fall, the Pausback’s threw a huge dinner On September 12, 1930, the “Southtown Economist” reported, “Mr. and Mrs. Nicholas J. Pausback, 6606 Woodlawn ave., entertained last Saturday evening at a dinner and reception at the Hotel Hayes, 6345 University Ave.” (page 16). It was quite a big gathering with a formal program that included musical performances, poetry reading and costume dance.

Pausback Scenery Co. continued to land a series of contracts for various events throughout the 1930s. In 1933, Pausback Scenery Co. was credited with delivering properties for “Wings of a Century” at the Chicago World’s Fair that year. The firm was also responsible for the Street of Paris at the Exposition. Pausback’s son was interviewed about the family business. Pausback’s grandson recently shared “Larry Pausback Century of Progress” (his father, Pausback’s son) on Vimeo. Here is the link to the interview: https://vimeo.com/118502410

The firm also delivered some traditional scenery for regional productions, but these type of projects became less and less frequent. On Nov. 18, 1935, they manufactured a stage setting for the Bristol Paly-Goers League production of “Petticoat Fever.”  On Nov. 18, 1935, “The Bristol Herald Courier” in Bristol. Tennessee, reported, “The setting showing the interior of the Labrador wireless station, designed by Pausback Studios, was realistic and authentic” (page 3).

By 1944, Pausback briefly partnered with another former Sosman & Landis employee, Art Oberbeck. The two were credited with scenery and lighting a “Alaskan Stampede.” The article reported, “Alaskan Stampeded, the unique spectacle – musical show – ice ballet and dramatic story – which will open at the Chicago Coliseum, tomorrow, has called a regiment of famous people to Chicago to participate in this production. Not only are singing, acting, and skating stars of note headlining the show, but writers, musicians, and technicians form New York and Hollywood are combining their talents for a completely original show” (page 12). Of the technical contributions, the article added, “Clarence Shapiro, dialogue director is a Chicagoan. Chicagoans are also the scenic and lighting experts, A. W. Oberbeck and N. J. Pausback, who are responsible for breathtaking effects of five stages with Mount McKinley for a background and Aurora Borealis playing over the whole and reflected real lagoon. There is a plot woven through all this color, sound, and movement. It is a heartwarming romantic story of a young pilot, a small Eskimo boy who is rescued from death , and an American girl whose love the pilot desire.”

In the 1950s, Pausback Scenery Co. was primarily focusing on stage equipment and draperies for academic institutions, with the firm was competing against other drapery companies that included National School Supply, Miller School Supply, Lee School Supply, Art Drapery Supply, Lee School Supply, Mitchell-David Co., and Tiffin Scenic Studios. Work continued, but Pausback started to slow down and contemplate retirement. After running the firm for twenty years, he retired, only enjoying six years before passing away in 1953. Pausback passed was at the age of 72 years old and He is buried in St. Mary Catholic Cemetery and Mausoleum in Evergreen Park, Illinois (Section 1, lot 764). On May 14, 1953, Pausback’s obituary was published in the “Chicago Tribune” on page 36. It announced:

“Nicholas J. Pausback, 72, of 1000 S. Rhodes av., retired theatrical scenery contractor, died yesterday in his home. Mr. Pausback, who retired six years ago, supplied amateur and professional theatrical scenery for 45 years, the last 20 years as owner of Pausback Scenic studios. An amateur magician, he was a member of the International Brotherhood of Magicians and the American Society of Magicians. Surviving are his widow, Otilia, three daughters, Mrs. Elvira Pausback Howard, Mrs. Mary Crescentia Welsh and Mrs. Therese Curtis, and three sons, the Very Rev. Gabriel of the Carmelite Order, Raymond Joseph and Lawrence. Mass will be said at 9:30 a.m. Saturday in St. Clara’s Carmelite church.”

Ottilia lived for another decade, passing away on May 23, 1963. Both are buried at Saint Mary Catholic Cemetery and Mausoleum in Evergreen Park, Cook County, Illinois (Section 1, lot 764).

To be continued…