Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.
Example of a woman working a treadle sewing machine.
Winnie Kennedy was a seamstress at Sosman & Landis in 1888. Her name and position at the company made headlines that year when she was involved in a court case.
On June 13, 1888, the “Inter Ocean” reported, “The trial of Daniel Ryan, for an alleged criminal assault upon Winnie Kennedy, of No. 265 Morgan street, occurred before Judge Baker and jury yesterday. The complaining witness is a fair daughter of Erin, only three years from the “ould sod,” and Daniel, who had been a childhood playmate, has lived in America two years longer. Winnie is a seamstress and works for Sosman & Landis, on Clinton street. Last February she lived with her sister, Mrs. Matthew Gleason, at No. 144 North Peoria street, where Ryan also boarded. They were on very good terms and Ryan frequently escorted Winnie to and from places of amusement, etc. On the night of Feb. 5, when the assault was said to have occurred, they were visiting Mrs. Madden, another sister of Winnie, on West Harrison street, and on their return home, she said, the attempt to assault her was made. Winnie and her brother-in-law Gleason, her only witness, differed widely in their stories. For the defense it was shown that Winnie had offered to settle the case if Ryan would marry her. Ryan denied her story point blank, and the jury acquitted him without leaving their seats” (page 7).
That same day, a similar article was published in the “Chicago Tribune:”
“The trial of Daniel Ryan for an alleged criminal assault upon Winnie Kennedy at 265 Morgan street occurred before Judge Baker and jury yesterday. They had been childhood playmates. Winnie is a seamstress and works for Sosman & Landis on Clinton street. Last February she lived with her sister, Mrs. Matthew Gleason, at No. 144 North Peoria street, where Ryan also boarded. The night of Feb. 5, when the assault is said to have occurred, they were visiting Mrs. Madden, another sister of Winnie, on West Harrison street, and on their return home, she said, the attempt to assault her was made. Winnie and her brother-in-law Gleason, her only witness, differed widely in their stories. For the defense it was shown that Winnie had offered to settle the case if Ryan would marry her. Ryan denied her story point blank, and the jury acquitted him without leaving their seats” (page 8).
It is almost impossible to identify a single young woman who was boarding at a relative’s house during the nineteenth-century, especially if it is a year between census reports. This challenge is compounded when the individual has a common first and/or last name. To successfully track any nineteenth-century female, it helps to have the names of a husband, parent and child/children. The historical records connected to her family members help cross-reference any other information that may come to light. The birth of children is especially helpful, as birth certificates help pinpoint the location for a family during a specific year between census reports.
In regard to a birthplace, a Winnie Kennedy from Ireland is incredibly challenging. In 1886 alone, there were two Winnie Kennedy’s who traveled from Liverpool to New York one month apart and were approximately the same age.
I was able to locate Winnie’s birthplace and parents, based on a few breadcrumbs. The two newspaper articles pointed me in the direction of birthplace (Ireland); approximate year of immigration (1885-1886), and the married names of two sisters (Gleason and Madden). The names of her brothers-in-law were really key in locating some basic information about Winnie’s background.
I started with her sister, Mrs. Matthew Gleason of 114 N. Peoria, Chicago. Tracking the life of Matthew Gleason identified his marriage to Winnie’s sister. On June 4, 1883, Matt Gleason married Kate Kennedy in Chicago. The couple was also listed as the parents of Winnie Margaret Gleason. This helped verify that Kate and Matt were likely related to Winnie Kennedy from the 1888 article. Locating the death certificate of Katherine Kennedy Gleasons identified her and Winnie’s parents – Thomas Kennedy and Bridget Harrington of Tipperary, Ireland.
Katherine Kennedy Gleason born in Tipperary in 1853 and emigrated from Ireland to the United States in 1875. A decade later, her younger sister Winnie followed, initially living with Kate in Chicago. This is the same story for many immigrant families; eldest children leave for better opportunities, save every penny that they can in their new home, and gradually send for the remainder of their family. This is how both of my paternal grandparents emigrated from Poland to the United States in the early twentieth century. Their journey was only made possible by the financial assistance and support from older siblings.
Such was the case when Winnie Kennedy left her home in Tipperary, Ireland, and headed to Chicago to live with an older sibling whom she had not seen for a decade. She arrived between 1885 and 1886. By 1888, Winnie was living with her sister Kate and brother-in-law Matt at 144 N. Peoria St.
I also began tracking down Winnie’s second sister. Mrs. Madden, who was mentioned in the newspaper article too. Mrs. Madden was noted as living on West Harrison. In 1888, there was a Benjamin A. Maddern, the ONLY Harrison, living at 394 W. Harrison St. The Maddern family remained at this address from 1887 until 1891. In 1888 Maddern was working as a painter, and married to May Maddern, providing a name for Winnie’s second sister. Also, Ben Maddern’s work as a painter was possibly Winnie’s connection to employment at Sosman & Landis.
I have yet to locate what happened to Winnie after 1888.
Regardless of Winnie’s personal life, I can identify a few of the projects that passed through the Sosman & Landis shop in 1887 and 1888. I just have this sinking feeling that she lost her position at the firm after the article was published. I wish that I could share that Winnie survived the harsh criticism after the newspaper article was published. I hope that she was able to find a lovely partner and spend the rest of her days both happy and healthy. At this time, Winnie’s story rafter June 13, 1888, remains a mystery. If any more information about Winnie comes to light, I will update this post.
In 1887 and 1888, Sosman & Landis delivered scenery to Opera Houses in East Saginaw, Michigan; Waterton, Wisconsin; Olean, New York; Wichita, Kansas; Wilkes-Barre, Pennsylvania; Sabetha, Kansas; El Paso, Texas; Bloomington and Sumner, Iowa; and Kansas City, Clay Center, Newton, Anthony, and Winfield, Kansas.
I can also describe Winnie’s working environment in 1888. When Winnie worked at Sosman & Landis, her activities were confined to the basement of studio, located at 236 Clinton. This was the new facility erected by Sosman & Landis in 1886; so, it was quite new.
The preparation and construction of all soft goods at Sosman & Landis took place in the basement, below the paint studio. The carpenter’s shop was also located in the basement. The actual cutting and sewing of backdrops was described in an interview with former Sosman & Landis employee, John Hanny. On July 14, 1976, Dr. John Rothgeb asked Hanny a series of questions about work at Sosman & Landis.
Hanny described that cutting fabric panels for soft goods was a two-man operation. He detailed:
“Muslin 36” wide – taken from the bale and placed on the floor at one end of a lane, marked with footage along the side. One would pick up one width and walk backward until he reached the desired number. The man on the other end would then cut it. This was repeated until needed number of widths for the drop.”
After the fabric panels were cut, Hanny explained that they were handed off to a woman in the sewing room. The fabric panels were stitched together on a treadle sewing machine. The high-quality of drop construction by Sosman & Landis is apparent. I have yet to document any Sosman & Landis soft good that does not have perfectly sewn seams, consistent fabric widths and perfect stitching. Whether the sheeting was manufactured by Indian Head, Antarctic. Franklin Sheetings or some other cotton mill, the drop construction remains a testament to the talented young women who spent untold hours in a basement on Clinton Street in Chicago.
The same year that Winnie worked for Sosman & Landis, dozens of newspaper articles warned of the harm caused to women who operated treadle sewing machines. On Sept. 6, 1888, the Chicago Tribune” published an article entitled, “Employments Of Women” (page 9). Dr. Elizabeth Stowe Brown, M.D. examined the health and wages of working women. Under the section heading, “The Song of the Shirt,” Brown wrote, “A careful study of the lives and physical disorders of sewing machine operators will, I think, justify the conclusion that a moderate use of the sewing machine will not injure the average woman; but that no woman can “operate” eight to ten hours a day by foot-power without harm. The excessive use of the sewing can be no better borne than work in any line disproportioned to the strength of the individual.” It remains without question that Winnie was at least working eight hours a day, likely six days a week.
Detail of drop manufactured at Sosman & Landis in 1902.
Winnie’s work at Sosman & Landis may have offered a certain amount of freedom, but it was physically-taxing labor. Injuries went far beyond one’s hands.
I am going to end this post with a short excerpt from “Little Gab,” a newspaper that was published the month after Winnie’s article. On October 11, 1888, in the “Mount Carmel Register” (Mount Carmel, Illinois, page 3):
“And the brave young girl worked from morning until night to lay up the needed amount. She wore herself out working over her sewing machine; she cut, laid together and sewed with hardly a moment of rest. Well into the night I heard the sharp and hurried movements of the machine, resembling the abrupt rustling that grasshoppers make in the fields; beyond the curtains, illuminated by the lamp, I distinguished the hard-working girl in the outline, and I thought involuntarily of Hood’s terrible, ‘Song of the Shirt.’”
Here is the link to Thomas Hood’s poem: https://poets.org/poem/song-shirt
Ansel Cook worked at Sosman & Landis from approximately 1906 until 1908. Starting in 1906, Cook sporadically worked at the firm’s annex studio on 20th Street, often as a manager while Thomas G. Moses was on the road. By 1904, Moses was in charge of all design, construction, painting and installation, yet continued to travel for the firm. Moses was also on the road quite a bit, still meeting with clients, negotiating contracts and painting some installations on site. During some of Moses’ many absences, his right-hand-man, Ed Loitz, was left in charge. However, when Loitz accompanied Moses, others were left with the supervision of projects at both the main and annex studios.
In 1906, Moses left Cook in charge of the annex. Upon his return, Moses wrote, “Took charge of the 20th Street Studio on my return. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” Although Cook was a very gifted artist, he was not fast enough for Moses’ standards. However, the speed at which he worked did not stop the firm from hiring Cook. In 1907, Thomas G. Moses wrote, “We opened our annex studio at 19 W. 20th Street in July, and Ansel Cook went there as a manager.” Moses later commented, “He did some very good work but was a long time doing it, which, of course, didn’t pay us.”
Sosman & Landis’ annex studios were primarily for specialty projects, especially painted scenes for Scottish Rite degree productions across the country. I believe that one of Cook’s drop curtains still exists, originally painted for the McAlester Scottish Rite Theater, c. 1907- 1908. It is currently used at the Scottish Rite Theatre in Salina, Kansas.
Drop curtain painted at Sosman & Landis Studio, c. 1907-1908. This is possibly the work of Ansel Cookwhen he worked at Sosman & Landis during that time.
Years later, former Sosman & Landis scenic artist Art Overbeck remembered Cook. His recollections about the firm and various artists who worked there were shared in both in correspondence and interviews with Dr. John Rothgeb, University of Texas at Austin. from July 24, 1976, Oberbeck stated, “[Cook] could make satin shine beautifully. He used to talk and show me stuff and tell me stuff of that sort. I would lay in all the stuff the best I could myself and he’d come along with a brush and give it a couple of jabs and straighten this line out and something of that sort. And boy, it would look so beautiful. Just knowing of a touch in the right place. Oh, he was a genius.” It was the comment about satin and Cook’s specialty as a drapery and figure painter that brought to mind the above-mentioned drop curtain.
I was incredibly difficult to track down information pertaining to Cook’s early career and life in Iowa. Ansel C. Cook was the eldest of nine children born to Walter Cook (1834-1921) and Matilda Kinney (1840-1928). Ansel’s gravestone indicates that he was born in 1863. However, some historical records suggest that he was actually born in May of 1862. Ansel’s younger siblings were Aaron Tompson Cook (1864-1905), David Stinson Cook (1866-1935), Abner Branson Cook (1868-1973), William Clayton Cook (1872-1940), Edna “Elizabeth” Cook (1875-1918), Birdie Louella Cook (1878-1942), Nina Pearl Cook (1880-1943), and Esther “May” Cook (1883-1954). Of all the children, both Ansel and William became scenic artists.
The patriarch of the Cook family worked a variety of jobs, often listed as a “laborer” in census reports. However, when the Civil War broke out, he was working as a “coal digger.” Walter Cook registered for the draft on July 1, 1863, in Richland, Iowa. He was 29-yrs. old at the time, married with a pregnant wife and infant son at home. Unlike so many families in a similar situation, Walter survived the fighting and returned home to his family. After fighting in the war, he returned to Iowa where he would remain for the rest of his life.
By 1870, the Cook family had moved from Richland to Columbia, still remaining in Wapello County, Iowa. The nearest post office was located in Eddyville. The 1870 US Federal Census listed that the Cook household included: Walt (36), Matilda (39), Ansel (8), Aaron (6), David (4) and Abner (1 mth. old). Walter was now listed a working as a farm laborer.
By 1880, the Cook family was living in the nearby city of Ottumwa, residing at 415 Tenton Street. In Ottumwa, Ansel Cook was listed as a painter in the US Federal Census. By 1882, he was associated with the painting firm of Cook & Pagburn. On Dec. 24, 1882, the “Ottumwa Daily Democrat” reported, “Ansel Cook, of the firm Cook & Pagburn, is a painter of fine qualifications. He is one of the best sign painters in the city, and in addition to his qualifications in that respect, is quite a crayon artist. Yesterday a specimen of his crayon work was exhibited at his office that is hard to excel, and is certainly rarely ever equaled in this city” (page 4). I have yet to encounter any other mention of Pagburn and wonder if there was a misspelling; Ottumwa articles are rife with typos (almost like my own posts).
On April 15, 1883, the “Ottumwa Daily Democrat” reported, “The finest door post signs in the city are those in front of Mr. Nusbaum’s place of business. The work is equal to a chromo, and the skill of Ansel Cook is everywhere apparent. DuBoise is nearly as proud of the work as Mr. Nusbaum” (page 8).
His partnership with Pagburn did not last long, and soon Cook partnered with an artist from Chicago, Ernest Rotzein. On September 22, 1883, the “Ottumwa Daily Democrat,” reported, “It is with pleasure that we announce a new firm of business men in this city, Rotzein & Cook. They are both splendid workmen, and we now pronounce our verdict that they will succeed both as house, sign, and ornamental painting. They are Anal [sic. a truly unfortunate misspelling of Ansel] Cook, of this city, and Ernest Rotzein, late of Chicago. Interior decoration will be a specialty” (page 4).
Cook continued to work with Rotzein and remained in the area for the next few years. It was likely Rotzein that later lured Cook to Chicago. In the meantime, however, he married. According to a 1900 census years later, he married Nellie Cook in 1884. I have yet to locate any marriage license or filings for the union. And the 1885 Iowa State Census still listed Cook as living at home with his parents and brothers Aaron F. and David S. It is possible that 1884 was an error, made by a census reporter.
On April 15, 1885, the “Ottumwa Daily Democrat” announced, “Dissolution Notice – Notice is hereby given that the firm of Rotzein & Cook is this day dissolved by mutual consent, All liabilities are assumed by Mr. Rotzein, Mr. Cook retiring from the business” (page 4). The notice was signed Ernest Rotzein and Ansel Cook. Beneath was another announcement: “Thanking the people for past favors, I cheerfully recommend parties desiring work in this line to call up Mr. Rotzein” (page 4). It was signed Ansel Cook. This makes me wonder, if Cook left Ottumwa to get married and work elsewhere. There is a gap between 1886 and 1896 that I cannot account for in the life and career of Ansel Cook.
By 1896, Ansel pops up in Chicago. He was listed in the city directory that year, living at 187 Centre Ave. The next year, he moved to Boston, Massachusetts, where he was consistently listed as an artist for the Castle Square Theatre in the city directory from 1897-1900 and living on Follen Street.
The first mention of Cook working as a scenic artist in Boston. In an advertisement for “Erminie” at the Castle Square Theatre on September 6, 1896. Cook is credited with the scenic effects for the production.
Advertisement listing scenic effects by Ansel Cook. From the Boston Post, Sept. 6, 1896, page 10.
On January 17, 1897, the “Boston Globe” reported, “The preparations for the production of ‘Lohengrin’ at the Castle sq theater are well in hand, and all indications point to a successful production of this most popular music drama. Scenic artist Ansel Cook has already in hand a complete new scenic outfit for the opera. The models for these settings are studies from those used in the original production of ‘Lohengrin’” (page 16).
Later that fall, Cook painted a new drop curtain for the Castle Square Theatre. On September 9, 1897, the “Boston Evening Transcript” described his drop curtain for the Castle Square Theatre. The article reported, “One of the features of the opening of the Castle Square Theatre for the season of 1897-89, Monday last, was the new drop curtain. This curtain was painted by Mr. Ansel Cook, the scenic artist of the theatre, and represents a woodland after a style of French forests, and might be taken for the rond-point of the forest of Fontainebleau. The trees are scattered here and there, but no brush or underwood is seen. An artistic feature of this pretty landscape is that no paths are traced amid the trees. The time the picture represents is autumn, late in the afternoon. The trees in the foreground still retain their warmth of the declining sun, while those in the distance have already a hazy hue much resembling, in coloring, the perspectives in de Chavannes mural decorations. These are five figures in the picture, two of which, both in costume and attitude, are strikingly beautiful. They represent two lovers strolling from the chateau, which is dimly seen in the distance. The costume denotes the sixteenth century, and live the truth of Mareau’s picturesque characters. The picture itself is framed by means of generous draperies and olden-times frescoing. These are of an indefinite color, and harmonize with exterior decorations of the theatre. That Mr. Cook should have found time to both conceive and paint such an artistic and truly beautiful curtain, busy as he is every week with different productions, is to be wondered at. While then, credit is due the management of the Castle Square Theatre for doing everything to please its patrons, greater credit should be given for contributing so much to the stage ensemble and beauty” (page 5).
In October 1897, Cook’s scenic art contributions were noted in the Castle Square Theatre production of “Shenandoah.” An article in the “Boston Evening Transcript” on October 30 reported, “Unusual attention has been bestowed upon the scenic and other stage effects by Messrs. Ansel Cook and Ben Craig, the great scene for the second and third acts, representing Shenandoah Valley, being a faithful study from sketches made at the time of the historical occurrences depicted in the drama” (page 1). The next day, “The Boston Globe” announced, “A clever example of model making for dramatic productions may be seen in the window of the branch office of Castle sq theater on Tremont st the coming week. It represents in detail the scenes and figures of the principal picture in the third act of ‘Shenandoah’ and is an excellent example of the clever work done by Mr. Ansel Cook, the scenic artist of the Castle” (page 22).
Cook’s work with Ben W. Craig at the Castle Square Theatre from 1896 to 1902 included, “The Ensign,” “Captain Swift,” “Rosedale,” “The Heart of Maryland,” “The New South,” “The Prisoner of Zenda,” “Caste,” “Men and Women,” “Mignon,” “Tannhäuser,” “The Prodigal Daughter,” “Darkest Russia,” “A Social Highwayman,” Cumberland 61,” “Col George of Mt. Vernon,” “Nell Gwyn,” “Cyrano de Bergerac,” “The Little Minister,” “Jim the Penman,” and “Quo Vadis.”
By 1905 Cook moved from Boston to Chicago, establishing the Ansel Cook Studio and advertised as “Designer, Originator and Constructor.” His firm was located in room 60 of the Grand Opera House Building.
Advertisement placed by Ansel Cook in The White City Magazine, 1905.Advertisement placed by Ansel Cook in The White City Magazine, 1905.
One advertisement placed by Cook in “White City Magazine” gives some insight into some of Cook’s between 1902 and 1905. The ad stated:
“Now engaged in preparing the $60,000 reproduction of the CITY OF VENICE. Also, the $50,000 scenery for the SCENIC RAILWAY at WHITE CITY, Chicago. Designer and Constructor of the famous COAL MINE IN MINIATURE for the Fairmount Coal Co. of West Virginia (Highest Award), and the wonderful exhibit of the Davis Colliery Co. of West Virginia (Gold Medal), at the Louisiana Purchase Exposition; the two principal features and most popular exhibits in the Mines and Metallurgy Building. Designer and Constructor of the Mural Decorations for the Dome of the State Capitol Building at Topeka, Kansas.”
Cook’s work for the White City Amusement, “Venice,” in 1905 was featured in “White City Magazine.” Venice was advertised as “a romantic gondola ride through the moonlit water streets of Venice; viewing correct reproductions of her famous buildings and statuary groups.” It was a water ride that purportedly included 90,000 square feet of painted panoramas depicting the sites of the city, Venice.
1905 article about Ansel Cook in The White City Magazine.Design by Ansel Cook for the White City attraction VENICE, published in White City Magazine, 1905.
In a 1905 promotional book, entitled “White City Magazine,” Cook’s painting for the attraction was described in detail:
“SCENERY FOR BEAUTIFUL VENICE.
AN ENORMOUS QUANTITY OF IMPORTED CANVAS REQUIRED FOR MAKING THE PERSPECTIVE VIEWS
Ansel Cook, one of the most famous scenic artists in the United States and whose work is to be found in every first-class theatre, states that more canvas was required for constructing the perspective views which adorn the interior of Beautiful Venice, than was ever before used for any scenic work under one roof. Almost 10,000 yards of Russia sheeting, about 90,000 square feet, was imported direct from Russia because no dealer in this country could supply this enormous quantity. The canvas was used for the reproducing of scenes in Venice through which appear at a distance from the passenger in the gondola. That part of Venice through which the half mile of canals pass is actually built so that real palaces, groups of statuary, etc., are brought to view at every turn of the winding waterways, but the interior walls are hung with enormous panoramic paintings which carry out the effect for a distance of several miles.
In painting these panoramic views, Ansel Cook required the services of six associate artists and a small army of assistants. Their work lasted for a period of four months, during which time the entire force was kept busy practically day and night. The utmost care was exercised in order to give a perfect reproduction of Venice architecturally and in the color scheme. During a recent visit to the city of Venice, Mr. Cook carefully studied the details of ornaments, cornices and mouldings used on the buildings which have been reproduced for White City and he has correctly carried out the original designs in his work.
The wonderful perspective view of the Grand Canal, one of the most magnificent paintings ever produced on canvas, is about 30 feet high by almost 200 feet long. The size of this for an individual painting has rarely been exceeded. Particular care was taken to reproduce the animation and spirit of the busy scene presented to the sight-seer along the Grand Canal, with its host of gondolas, fishing boats with their bright colored sails, fruit barges, etc. Visitors to White City who experience the delights of a gondola ride through Beautiful Venice, will marvel at the life-like reproductions of these historic scenes, while those who are familiar with artistic efforts, will not hesitate to make frank acknowledgment of the excellence of the reproduction.”
On September 2, 1905, Cook’s operatic contributions were also featured in the “Minneapolis Journal” (page 14). He was credited with producing the painted backings for Lorenzo Perosi’s La Risurrezione di Cristo, the Resurrection of Christ, at the Minneapolis Auditorium in 1905. Perosi’s oratorio was part of the Banda Rossa program performed at the Auditorium during State Fair week, and included Gina Ciaparelli (soprano), Bessie Bonsall (contralto), Albert Quesnel (tenor) and Salvatore Nunziato (baritone) for the solo parts. The article noted that Cook’s painted compositions included “Mary at the Tomb, the meeting between the Savior and Mary Magdalene, the meeting of the Saviour and the Disciples on the Road to Emmaus, the Savior in the Multitude and the Ascension Scene.” On September 3, 1905, an article in “Minneapolis Journal” further detailed, “As the music progresses, these views, each 30×40 feet, with the wonderful electric lighting effects, are dissolved one into another. The effect is intensely interesting, and the mind, acted upon alike by the music and the pictures, is almost overwhelmed by the reality, the beauty and the solemnity of the scenes thus depicted by tone and brush…These are exquisite works of art and when lighted by the different electrical devices used in their presentation are wonderful, beautiful, and fantastic, illuminating the music as it progresses”(page 31).
It was in 1906 and 1907 that Thomas G. Moses mentioned Cook periodically managing Sosman & Landis’ annex studio. By 1908, Cook was offered work in California.
On July 27, 1908, the “Los Angeles Times” reported, “Ansel Cook, late scenic artist for Henry Miller, has just been engaged for the same position at the Belasco Theatre here. ‘The Great Divide’ settings were made by Mr. Cook. He was for six years with the Castle Square company of Boston” (page 7). In the August issue of “Billboard” that year, Cook was also credited with providing new scenery for Weyerson & Clifford’s Southern Thorne and Orange Blossoms Company (Vol. 20, page 25).
Cook’s work for the Belasco Theatre continued to make headlines. On September 30, 1908, the “Los Angeles Times” announced, “The Belasco Theatre has a new scene painter, Ansel Cook. He has the reputation of being one of the best in the country. His ‘Exterior of the Black Snake Ranch,’ in Acts II and III, is a Texas landscape, beautiful in color, and one of the most effective backgrounds ever seen on the Belasco stage.” In November, Cook painted new scenery for the Belasco Theater’s production of “Old Heidelberg.” On Nov. 1, 1908, the “Los Angeles Times” reported, “As Ansel Cook has painted entirely new scenery and appropriate sets, the production should prove a truly notable one from every standpoint” (page 25).
Cook was still working as an ornamental painter at this time, keeping himself employed between productions at the Belasco Theater. On Dec. 13, 1908, the “Los Angeles Herald” credited Cook with decorating the green room at the Belasco Theatre in Los Angeles, describing, “The green room now presents a very different appearance, being artistically decorated in green, maroon and gold, with beautifully decorated ceiling, executed by the clever artist, Mr. Ansel Cook” (page 32).
Cook was still listed in the 1909 “Los Angeles Directory.” However, he was now listed as an artist at C. F. Thompson Scenic Co. This was the newly incorporated scenic concern established by Charles F. Thompson. C. F. Thompson Scenic Co. originated in Chicago, and was operating by 1900. In 1909, the C. F. Thompson scenic company delivered a new drop curtain to the Home Theatre in Hutchinson, Kansas. On January 22, 1909, the “Hutchinson Daily Gazette” described the composition: “The center is a redwood scene with stage coach and a group of horsemen approaching a watering place” (page 5).
Between 1910 and 1914, Cook fades from radar again. By 1915, however, he has moved to the East Coast where he continues to work as a scenic artist. The 1915 New Jersey State Census listed Ansel Cook, now widowed, was working as a scenic artist and living with John B. Cook, Charles B. Cook, were J. Heiner, John L. Hoag, and Fred W. Kopke. They were all living in North Bergen Township. Interestingly, John B. Cook was also listed as a scenic artist. That being said, I do not know if there were any familial ties between Ansel, John and Charles. Distant cousins maybe, or did they just share the same common last name? It actually makes me wonder if this was the correct Ansel Cook, yet he passed away in Manhattan a year later.
Ansel Cook died on February 23, 1916 in Manhattan. He was listed in the New York extracted death index, yet the database listed his passing as Feb 24, 1916. It is hard not to think of Art Oberbeck’s comment about Cook decades later: “Oh, he was a genius. All his work was just so tremendous. And he died drunk in the back room of an old dump in New York. He was an awful drinker.”
Cook’s obituary was published in the “Ottumwa Tri-Weekly Courier” on Feb. 29, 1916: “Ansel Cook. The remains of Ansel Cook who passed away in New York, early Friday morning, arrived in this city Sunday morning, The funeral services were held this afternoon at 3 o’clock from the residence of his parents, Mr. and Mrs. Walter Cook, 427 Church Street, and were conducted by Rev. D. CX. Smith and Rev. Isaac Bussing. Interment took place in Ottumwa Cemetery.”
To fully appreciate life and career of Francis Edgar “Frank” Gates (1864-1952), one must understand the theatrical contributions of his father, Sigismund Iantis Gates (1826-1906). In addition to being an actor and musician, S. I. Gates was a stage mechanic/machinist/carpenter. The elder Gates worked in the St. Louis theatre community for over fifty years. I am briefly including his story, as it provides the best context for Frank E. Gates’ early training in scenic art and the theatre.
Born in 1826, Sigismund Gates started life as a carpenter. By the age of twenty-six, he was employed as a ship joiner in Buffalo, New York. In 1850, he was married to Jennet Eunice Brayman, and living with their infant daughter Mary Agnes Gates in New York. On March 15, 1851, their young daughter passed away and death continued to follow Gates over the next few years. By 1854, Gates not only suffered the loss of his daughter Mary, but also the loss of his wife and two young sons, Charlie and Horatio. Only his 3-yrs.-old daughter, Matilda J. Gates, survived. Father and Daughter moved west to start a new life. On July 21, 1855, Sigismund married Louisa Maddern (1832-1900), in Detroit, Michigan. Louisa was Frank and Richard Gate’s biological mom. After being married in Detroit, the young couple settled in Iowa. An Iowa State Census from 1856 listed Sigismund, Louisa, and Matilda J. living in Jackson, Iowa. Soon, the small family relocated to Illinois where Ernst and Grace Gates were born.
By 1860, the Gates moved again to St. Louis, Missouri, where Sigismund continued to work as a stage carpenter. At the time, the family was living on the same street as many other carpenters, machinists and architects. The 1860 US Federal Census listed the Gates household as including: Sigismund (34), Louisa (28), Matilda (9), Ernst (3) and Grace (1). Another daughter, Emily, was born shortly after the census, also in Missouri.
By 1861, the Gates were living in Keokuk, Iowa, where Sigismund enlisted in the Union Army on August 2. He enlisted as a musician, playing in the band of the Iowa 6th Infantry for just over a year. Sigismund completed his military service on August 16, 1862. In Keokuk, Francis Edgar Gates was born on July 12, 1864. After the Civil War, the Gates returned to St. Louis, and Sigismund to theatre work, both performing and building. Living on 20th street, between Market and Estelle, he became associated with the Varieties Theatre. He was soon listed as their official stage mechanic, working with scenic artist Thomas C. Noxon. On Dec. 30, 1866, the “Daily Missouri Republican (St. Louis, page 3), reported, “VARIETIES THEATRE- The great spectacle of Sadak and Kalasrade, produced in a scale of magnificence never before witnessed on any stage. The scenery by T. C. Noxon, machinery by S. I. Gates…” By 1867, Sigismund I. Gates was still listed as a stage carpenter at the Varieties Theatre.
The Olympic Theatre in St. Louis, Missouri, where Sigismund I. Gates worked as a stage mechanic.
Machinist S. I. Gates and scenic artist T. C. Noxon then became associated with the Olympic Theatre by 1868. The two remained there for the next three decades. On Sept. 7, 1873, the “Missouri Republican” listed Noxon and Gates as part of the Olympic Stock Company (page 6). They continued working together until Noxon’s passing in 1898, yet Sigismund remained as a stage carpenter at the venue, still listed as part of the staff from 1899 until 1903 in “Julius Cahn’s Official Theatrical Directory.”
The Gates and Noxon connection cannot be underestimated in terms of theatrical networks.
I have written quite a bit about Noxon (1829-1898) in the past. He was nationally recognized for his scenic artist and electric parade float designs, as well as establishing the scenic studios of Noxon & Strauss; Noxon, Halley & Toomey; Noxon, Albert & Toomey; and Noxon & Toomey. All the while, he worked with Sigismund Gates as his stage carpenter. Here is a past post that shares some of Noxon’s accomplishments: https://drypigment.net2018/07/28/tales-from-a-scenic-artist-and-scholar-part-462-thomas-c-noxon-of-noxon-toomey/ At the time of Noxon’s passing, the “St. Louis Post-Dispatch” reported, “Mr. Noxon for years had been considered one of the foremost scenic painters in the country and his work can be seen in almost every prominent theater in the United States” (21 June 1898, page 7).
In addition to his association with Noxon, Sigismund was also a leading member in the Theatrical Mechanical Association of the United States and Canada. On Jan. 13, 1889, the “St. Louis Post-Dispatch” announced the upcoming “Theatrical Mechanics Ball.” The article noted, “The ball is in the hands of a committee consisting of S. I. Gates, delegate to the Grand Lodge, Secretary Louis J. Horn and Treasurer Andrew Fueger.” The annual masquerade ball of the Theatrical Mechanical Association was held at the Masonic Hall, located at Seventh and Market Streets. Sigismund was still actively involved with the organization in the 1890s. By 1895 he was president of the St. Louis lodge for the organization. That year the Convention of the Grand Lodge of the Mechanicians was held at Havlin’s Theatre, St. Louis.
Sigismund continued to work backstage until his passing in 1906. His obituary was published in the “St. Louis Dispatch,” on Feb 9, 1906: “GATES – On Geb. 8, at 2 P.M. Sigismund I. Gates at the age of 80 years. Funeral will take place Saturday, Feb. 10, under auspices of Missouri Lodge No. 1 A.F.&A.M., at 3p.m. from the funeral parlors of Theodore W. Paschedag, 2816-2826 North Grand Avenue. Relatives and Friends invited to attend.”
In addition to a theatrically-connected father, Frank’s mother was also part of the American Theatre. As a member of the Maddern family, she was related to the musician, Richard Maddern (father), and performers: Amelia Maddern Hodges (sister), Elizabeth “Lizzie” Maddern (sister), Minnie Maddern Fiske (niece) and Emily Stevens (niece).
These theatrical connections and familial ties made Frank Gates an incredible asset at Sosman & Landis in 1885. The firm relied upon well connected artists to help secure contracts across the country, based on their individual reputations alone. Gates not only had the theatrical connections, but also the academic training in fine art. This would set him apart from many of the other scenic artists at Sosman & Landis at this time. Both he and his brother Richard attended the St. Louis School of Fine Arts at Washington University in St. Louis, both completing four years at the university.
The 1880 US Federal Census listed Frank as a University student, living with his parents at 1315 N. 7th St. At this time, the household consisted of S. I. Gates (55), Louise (47), Ernst (22, son), Grace (21, daughter), Emily (19, daughter), Frank (16, son), Richard (7, son), and Robert Essex (16, orphan). Years later, the childhood of Frank and Richard Gates was repeatedly recalled in various newspaper articles. In December 1927 an article published in “The Scenic Artist” commented, “they were practically brought up on theatre from almost infancy, being in a family of theatrical managers, musicians and actors, it was natural that the stage should appeal to them” (Vol. 1, No. 8, page 8).
The Gates children were certainly familiar with the productions at the Olympic Theatre and the scenic art of Noxon. Early scenic art training was almost certainly under the tutelage of Noxon at the Olympic Theatre. After early work as an assistant scenic artist, Frank landed a position at Pope’s Theatre in St. Louis. Already by age of eighteen, Frank Gates was listed as an artist in the “St. Louis City Directory,” although still living at his parents’ home on 1315 N. 7th St. By 1883 Frank Gates, was living on his own at “ws. 7th, nr. Cass av.” Two years later, he was living at 414 Olive in St. Louis, consistently listed an artist in the city directory.
Frank was twenty-one years old when offered a position at Sosman & Landis Scene Painting Studio in Chicago in 1885. On July 12, 1885, the “St. Louis Globe” announced, “Mr. Frank Gates, who has been the scenic artist at Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself at Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). For a little theatrical context, Charles Pope (of Pope’s Theatre) worked as manager at the Metropolitan Theatre in Indianapolis (1868), Coates Opera House in Kansas City (1870-1871), the Olympic Theatre in St. Louis, Missouri (1870-1876), the Varieties Theatre in New Orleans (1876-1877), Pope’s Theatre in St. Louis (1879-1887), and the Oriental Theatre in St. Louis (1895). So, Pope worked with Sigismund Gates at the Olympic Theatre, where he would have first encountered Frank’s as a young paint boy and later scenic art assistant.
After Frank left Pope’s Theatre and moved to Chicago in 1885, he met and married Malinda Jane Neal (1866-1945). The couple was married in Milwaukee, Wisconsin, with the ceremony taking place on September 8, 1886. At the time, Frank’s residence was listed as Chicago and Malinda’s as Keokuk, Iowa. Frank continued to paint in the region, but was not always listed in the “Chicago Directory.” Interestingly, a regional branch of Noxon, Albert & Toomey was established in Chicago and also listed in the 1887 “Chicago Directory.” Frank’s future business partner Morange was consistently listed in the Chicago Directory during the 1880s and early 1890s.
In 1887, however, Frank Gates was painting in Kansas City, Missouri, for another former Sosman & Landis employee, Lemuel. L. Graham. Graham actually ran a regional branch for the Chicago-based firm. It is possible that Gates was still working for Sosman & Landis at the time, as part of the regional studio supervised by Graham. Gates continued to work for Graham in Kansas City throughout the duration of 1888.
By 1890, Frank returned to Chicago, and was listed as an artist, living at 334 W. Van Buren. This gets a little confusing, as there was also a Frank A. Gates working as a painter in Chicago, completely different person and address though. Supposedly, Gates met Morange in 1894, however, they likely met at Sosman & Landis long before that time; the scenic art world in Chicago was very small, especially for those employed at Sosman & Landis. Historical accounts suggest that they studied fine art during the day and painted scenery together at night. It is very likely that the two were still sporadically employed at Sosman & Landis.
In New York, Gates & Morange became a success, with the demand for their services and scope of their projects continuing to increase. The scenic studio of Gates & Morange became one of the premiere scenic studios in the United States by the early twentieth century, delivering stage settings for dozens of Broadway shows. Throughout the duration of Gates & Morange; Morange was the primary visionary and traveler, gathering source material for their designs. Gates managed the studio and the contracts. Scenic artists who worked for Gates at their firm included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri.
Design library at the studio of Gates & Morange.
On Feb. 7, 1907, the “New York Time” announced the incorporation of “Gates & Morange, Inc., North Pelham (stage settings) capital $100,000, Directors – F. E. Gates, Tuckahoe; E. A. Morange, Mount Vernon; R. N. Gates, Bronxville.” (page 13). Morange was also integral in establishing the eastern affiliate of Sosman & Landis, New York Studios shortly after incorporating Gates and Morange. This secured and unspoken jurisdictional agreement with both New York Studios and Sosman & Landis. In 1910, David H. Hunt, Secretary and treasurer of Sosman & Landis, established New York Studios. He was one of the initial stockholders; at the beginning the firm’s stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.
The New York Public Library also has a Gates & Morange Design Collection (c. 1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions. The Gates and Morange Designs Collection is part of the Billy Rose Theatre Division Repository, Archives & Manuscripts, New York Public library. The following excerpt is from the online descriptor of the collection – “[Gates & Morange] designed scenery for more than 50 productions over four decades, additionally painting and supplying countless others. Clients included Liebler Co., Florenz Ziegfeld and George C. Tyler. Designers included Thomas Benrimo, William E. Castle, Richard Gates (brother of Frank), Charles Graham, Alexander Grainger, Arne Lundborg, Orestes Raineiri, and Edward Morange… Original set designs, curtain designs, drops, and olio designs, mostly color, produced by the Gates and Morange studio over four decades for theatrical productions and for businesses, trade shows, and several exhibitions. Although most of the designs are undated, the bulk of the collection appears to date from the 1920s. Among the more than 75 productions included are The Daughter of Heaven by Pierre Loti (ca. 1912); Dolce Napoli (ca. 1913); Earl Carroll Vanities (1923); For Valor by Martha Hedman and H.A. House (1935); Gridiron Club productions (1935); An International Marriage by George Broadhurst (ca. 1909); The Lady of the Lamp by Earl Carroll (1920); Music in the Air (musical), music by Jerome Kern, with designs by Joseph Urban (1932); Nancy Brown (musical), music by Henry K. Hadley (ca. 1903); Song of the Flame (musical), music by Herbert Stothart and George Gershwin, with designs by Joseph Urban (1926), and a number of Ziegfeld productions. Of particular note is Rose-Marie (musical) by Otto Harbach and Oscar Hammerstein II (1924), which includes 3 photographs, showing the development from an initial photograph to the scenery in place on the stage (1924). There are also a few studio plans and research materials in the collection.” Here is the link to this Gates & Morange collection: https://archives.nypl.org/the/22927.
There is so much more, but I am going to stop here.
Frank Gates passed away on Dec. 18, 1952, in Bronxville, New York. He is buried at Ferncliff Cemetery and Mausoleum in Hartsdale, New York (Ferncliff Mausoleum, M06TN, D, A, 13).
In 1899, there was a “Mr. McAndrews” representing the Sosman & Landis Scenic Studio. At the time, the firm was going after a scenery project in Barre, Vermont, bidding against Huoist Theatrical Scenery of Troy, New York.
“On May 11, 1899, the “Barre Evening Telegram” reported, “The city council met in special session last night to confer with several representatives of scenic houses about scenery for the new opera house. Mr. McAndrews, representing Sosman & Landis of Chicago advocated raising a portion of the roof 38 feet wide 5 feet above the present altitude. Mr. Huoist, representing a firm in Troy, N.Y., showed a model and sample of scenery. Advocated the use of trip lines and leaving the roof the same as present. Both are prepared to submit estimates by next Tuesday. Mr. Morton agreed to add the stripe to the decorations of the rooms in the city hall and a resolution was adopted awarding him the contract for $250. Executive session to consider some other bids on scenery” (page 1).
By May 17, 1899, the “Barre Evening Telegram” announced “Scenery Let. Huoist Theatrical Scenery Co., of Troy, N.Y., the Successful Bidders. The Price to be $1,226 for Nine Complete Scenes. Sosman & Landis $52 Higher for Less Pieces” (page 1). Sosman & Landis were the nearest competitors to Huoist, but their price for $1,278 was for several fewer pieces.
It has been a challenge to track down “Mr. McAndrews,” as it is extremely difficult to locate a scenic artist or salesman with a common last name. However, I believe that this was E. H. McAndrews, also known as Edward H. McAndrew; over the years, the “s” was dropped from the last name. Both Edward H., and his brother Robert T., McAndrews, worked as scenic artists in the East, primarily contracting projects in Pennsylvania, New Hampshire, Massachusetts, and Vermont.
Edward was a very typical example of the scenic artist/salesman hired by Sosman & Landis at this time. Since the founding of the firm, Sosman & Landis hired regional scenic artists, those familiar with a specific area of the country, to go after scenery jobs beyond the Midwest. This made sense, as it gave them not only access to local theatre networks, but also added credibility to their firm when competing against regional competitors.
Edward was one of four children born to Patrick McAndrews and Agnes E. Calhoun between 1859 and 1865. The oldest child Francis “Frank” was born in 1859 and youngest child, Elizabeth, was born six years later in 1865. Edward and Robert were the middle children. In 1870, the McAndrews family was living in Pottsville, Schuylkill, Pennsylvania. At the time, the children listed at home were: Frank (11 yrs.), Robert (8 yrs.), Edward (6 yrs.) and Elizabeth (5 yrs.).
Patrick McAndrews passed away in 1875, leaving a wife with young children still at home. Agnes was still listed in the Pottsville City Directory over a decade later, as it appears, she never moved. In 1887, when was living with Robert at “Race c Lawson.” Although Robert was listed as a boiler maker at the time, he was working as an artist two years later. In 1888, Edward was also working as an artist in the area. On August 3, 1888, the Sunbury, Pennsylvania, “Northumberland County Democrat” reported, “Prof. E. H. McAndrew, an artist, who works from nature, has arrived in this city and intends getting up a class. He has recently been in Shamokin and Easton and comes highly recommended” (page 1). Shamokin was located approximately halfway between Pottsville and Sunbury, to the west. Easton was near Allentown, Pennsylvania.
It remains unclear as to when Edward and Robert began their scenic art careers, but both completed projects in larger metropolitan cities by the 1890s. By 1896, Edward was credited as a “well-known” scenic artist. On April 21, 1896, the “Fall River Globe” of Fall River, Massachusetts, reported, “Corse Payton is the only manager of popular price attractions that has discovered the secret of being able to carry scenery for eight first class productions and give attention to every little detail. Having the scenery, costumes, properties and other effects as the experienced stage manager requires for proper presentation of each play in the repertoire. All of the scenery used is the finest that can be painted and is from the brush of E. H. McAndrew, a well-known artist who has painted some of the most elaborate spectacular productions of the day. Everything that is used on stage is carried by Mr. Payton, who guarantees perfect satisfaction and will refund twice the amount paid for any ticket by any person not perfectly satisfied with any of his performances. Yesterday’s productions were presented to full houses and the general verdict was that the company was much superior to many of the high-priced attractions. In a word the company is one of rare excellence, and well worthy of the public patronage. Tonight ‘The Galley Slave’ will be presented, and tomorrow there will be two grand bills, ‘East Lynne’ in the afternoon. And ‘The Plunger’ in the evening” (page 6). Fall River is about sixty miles south of Boston where McAndrews both lived and worked.
By 1900, Edward was living in Philadelphia, but continuing to work as a scenic artist and performer throughout the region. Edward also worked in Manchester, New Hampshire, where he met his future wife Dora G. Shaw.
On Nov. 15, 1900, Edward married Dora “Grace” Shaw in Boston. Grace was the daughter of railroad electrician, Eugene Shaw, and dressmaker, Susan A. Shaw, born on Jan. 14, 1877 in Barnet, Vermont. Their marriage license listed Grace’s current residence as Manchester, New Hampshire; with Edward’s current residence as Philadelphia, Pennsylvania. Edward and Grace listed their occupations as actor and actress, respectively.
McAndrews continued to work as a both a performer and scenic artist. On May 14, 1901, the “Portsmouth Herald,” announced, “E. H. McAndrews, the scenic artist of Manchester was in town today” (Portsmouth, New Hampshire, page 6). At this same time, his brother, R. H. McAndrew, was listed as a scenic painter in the Manchester, New Hampshire, City Directory, boarding at the Hotel Windsor. The two continued to work throughout the region.
By 1908, Edward and his wife Grace were living in Barnet, Vermont, Grace’s hometown. In Barnet, they celebrated the birth of their only son, John, sometime between 1908 and 1910; records vary for his birth year.
The family then moved to Canada, although this date is a little flexible too, ranging from 1906 to 1910. It is possibly that Edward was working in Toronto, while Grace raised their son in Vermont, but everything is a bit sketchy. Much of the information pertaining to the Edward McAndrews life in Toronto was included in a 1921 Canadian Census. That year, the McAndrew household included Edward, Grace, John and Susan A. Shaw (Grace’s mother). At the time, Edward’s occupation was listed as an artist in the theatre industry, listing 1906 as his year of immigration.
The McAndrews returned to the United States by 1930, although the exact date remains uncertain. The 1930 US Federal Census that listed E. H. McAndrew as a scenic artist in Wilmington, Middlesex, Mass., living with his wife Grace, son John, mother-in-law Susan and brother, Robert T. McAndrew. Robert was listed as a sign painter.
I have located precious little about Edward or Robert after this. However, Edward passed away four years later. His obituary was published in the “Boston Globe” on October 12, 1934:
“MCANDREW- In Wilmington, Oct 11, Edward H. Funeral from his later home, Middlesex av., Saturday Oct. 13, at 8:15 a.m. Requiem high mass at St. Thomas’ Church, Wilmington, at 9 o’clock. Relatives and friends are invited” (page 12). He was still living in Wilmington at the time. Edward H. McAndrew is buried at Wildwood Cemetery in Wilmington, Mass.
The grave of Edward H. McAndrew and Dora Grace Shaw McAndrews at Wildwood Cemetery in Wilmington, Massachusetts. I believe that his birth year is incorrect on this stone.
The rave of Charles P. Minor at Forest Hill Cemetery.
Here is brief recap of the Minor family to give a little context for Charlie:
John and Mary Minor celebrated the birth six children: Nora (1862), William M. Minor (1864), George Edward Minor (1866), John Harry Minor (1868), Charles P. Minor (1870), and Bert Minor (1880). After Mary passed away in 1880, John remarried and fathered two more children: Dollie (1887) and Jas. (1888). With the exception of his eldest daughter, the Minor children all grew to adulthood in Seneca, Kansas. William was the first to enter the painting profession, trained by a local sign painter in Seneca. He was soon followed by George and then Charles, and they all began working together as the Minor Bros. Early projects were primarily signage for local business, but soon they expanded their services to include theatre scenery. From 1885 until 1898, the Minor Bros. painted scenery throughout the Midwest.
In 1890, William and Charles Minor began working for Sosman & Landis. That year, the two were part of the crew painting scenery for the Broadway Theatre in Denver, Colorado. Three years later, Charlie was still working for the firm in 1893; he seems to have lasted the longest at the studio. On February 10, 1893, “The Representative” in Fox Lake, Wisconsin, reported, “Chas. Minor, representing the Sosman & Landis scene painting form of Chicago, was in town last week trying to arrange with Odd Fellows to put a new curtain in the hall. It is an advertising curtain, but whether he will make it a go or not remains to be seen” (page 4).
On May 3, 1895, “The Courier-Tribune” of Seneca, Kansas, reported, “Charles, W. M. and G. E. Minor, of Chicago, are in this city visiting their many old friend and acquaintances. They are the sons of Jno. O. Minor and formerly lived in Seneca, but the parents of the boys, Mr. and Mrs. J. O. Minor, now live in Baileyville. The three young men above mentioned are now with the Chicago Scenic Co., and are doing a nice business. They are working on the Crawford circuit and doing jobs at St. Joseph, Atchison and Topeka. Will painted the first drop curtain for the Grand Opera House. He picked up his trade while living here, and now all three are recognized as experts in this line. Will also painted the drop curtain for Sabetha and Hiawatha G. A. R. Halls. They are a nice lot of boys who have come right to the front” (page 3).
The Minor Bros. visits and projects continued to make Kansas newspapers throughout the 1890s. On May 9, 1895, the “Junction City Tribune” reported, “Will, Charlie and G. E. Minor of Chicago are visiting friends and will renew the old and paint some new scenery for the opera house while here” (page 5). By 1896, the brothers were associated with another studio, the Chicago Scenic Co. On May 4, 1896, the “Stevens Point Daily Journal” in Wisconsin, reported, “Minor Bros. of the Chicago Scenic Co. have finished painting a handsome advertising drop curtain for the Opera House. The curtain will be used between acts. The gentlemen are also painting curtains in Waupaca and Grand Rapids” (page 4).
They continued to remain part of the western theater scene too, painting scenery for opera houses in Colorado and Utah. On August 19, 1897, the “Avalanche-Echo” of Glenwood Springs, Colorado, (Vol X Number 33, page 4) announced the arrival of William and Charles Minor at the Kudrick hotel. On Feb 24, 1899, “The Courier-Tribune” of Seneca, Kansas, reported, “The Minor Bros. have taken the contract to paint the stage scenery for the Catholic school hall. They are at work on it now and doing a fine job. The Minor boys have the reputation of being as fine scenic painters as there are in the country and have done work in all the large cities from Chicago to the Pacific coast. They started to paint in Seneca years ago under the tutelage of J. Y. Benfer.”
By 1906 Charles relocated to Salt Lake City, Utah, In 1906, Chas. P. Minor was listed as an artist in the Salt Lake City Directory, living at 632 S Main. That year a want ad for his older brother William was placed in the “Salt Lake City Tribune” want ad on Dec. 24, 1906 (page 9): “WANTED – INFORMATION OF THE present residence of William Minor, a scenic artist. Address X 49. Tribune” (page 8). He disappears from print for a while and it is not until 1910 that he is included in the “Salt Lake City Directory.”
He was initially associated with Empire Theatre, the first movie theatre in town. Established by Harry S. Rand , it opened in 1908 and was located at 156 S State. In 1908 the “Salt Lake City Directory,” listed Charles E. Minor as manager of the venue, living at 9 Hooper & Eldredge Blk. At this same time, William M. Minor was listed as the treasurer for the Empire Theatre, residing at 76 E. 5th South. Interesting, a “May Minor” also worked as a cashier at the Empire Theatre, rooming at 49 S Main.
Charlie was still connected with the Empire Theatre in 1909, now listed as scenic artist for the venue and living at 76 E. 5th South. By now, his brother William was listed as the manager of the Empire Theatre, residing at 235 E. 4th South. William continued to live on 4th street, but became associated with the Salt Lake Theatre, painting their new drop curtain in 1910. On 4th St., William lived with his wife Minnie and lodger F. V. Ogle, a dressmaker.
Charlie soon moved west and by 1916, was listed as a scenic artist in the “Los Angeles City Directory,” living at 1249 S. Grand Avenue with his wife Mary . Charlie was registered as a Democrat. His stint in California did not last long, and by 1917 he and Mary were living in Lawrence, Kansas, with Charlie listed as a “traveling agent,” boarding at 804 Louisiana.
In 1918, both Charlie and William Minor moved from Salt Lake City to Kansas City, changing his profession entirely and becoming brokers. He continued to work with stocks and bonds in Kansas City throughout the 1920s. In 1929, Thomas G. Moses met up with Charlie and his brother, George “Ed” Edward Minor , in Kansas City. Of the reunion Moses wrote, “I called on the Lilley Company – (regalia company). Met Mr. Butcher, the assistant manager. He called up my friends the Minors – Ed and Charlie, and they came down to see me. Had a very pleasant visit then I took in a picture show.” Almost four decades had passed since Moses had met and hired Charlie for the Broadway Theatre project in Denver.
By 1930, Charlie Minor was living with his second wife Belle Bennett Swan in Topeka, Kansas. He initially started out as a boarder in Swan’s home, one of three lodgers at 914 King Street. The other two lodgers were school teachers (Helen A. Hudson and Ruby E. Taylor). The 1930 US Federal Census listed Charlie’s occupation a “broker” in the “stocks and bonds” industry. By 1931, the couple married, yet remained living at Swan’s home for the next decade. However, by 1933, Charlie became a salesman of life insurance and bonds, a profession that he would continue until his passing in 1944.
Charles Minor died on Dec. 19, 1944, passing away at the Major Clinic in Kansas City, Missouri. He had been admitted four days prior to his passing. Interestingly, his death certificate listed his birthplace as Bedford, Iowa. This surprised me, as all other records had indicated that he was born in Illinois.
On Dec. 20, 1944, the “Kansas City Times” published a brief obituary for Charles P. Minor, announcing,
“Funeral services for Charles P. Minor, 74, Topeka, who died yesterday at the Major clinic, will be held at 3:30 o’clock this Wednesday at the Newcomer chapel” (page 6). Charlie was buried at Forest Hill Cemetery.
Gravestone of George Edward Minor. Highland Cemetery, Junction City, Kansas.
G. E. Minor was a scenic artist and salesman at Sosman & Landis in 1892. On February 5, 1892, the “Clinton Register” reported, “G. E. Minor, representing Sosman & Landis, was in Clinton the first week arranging for new scenery in the opera house which will be put in in about ten days “(page 3).
George Edward “Eddie” Minor (1866-1940) was one of the Minor Bros., a scenic studio that started in Kansas during the 1880s. William, George and Charlie all starting painting as young adults in Seneca, Kansas, and were soon well-known throughout the region.
They were three of eight children fathered by John O. Minor. John and his first wife Mary A. Brown celebrated the birth of six children: Nora (1862) William M. Minor (1864), George Edward Minor (1866), J. Harry Minor (1869), Charles P. Minor (1870), and Bert Minor (1880). After Mary passed away in 1880, John remarried celebrated the birth of two more children with his second wife Rosa Hasson: Dollie (1887) and Jas. (1888).
The first public listing for Eddie as a painter is in 1885, working with his older brother William. The two even temporarily moved from their home in Seneca, Kansas, to Kansas City, Missouri, for greater visibility. On Feb. 7, 1885, their work was featured in the “Carbondalian” of Carbondale, Kansas, (page 4). A short article reported, “Minor Bros. (William and Edward) of Kansas City, have painted a very fine business directory for our business men. It is on canvas background with a large moulded frame, about 5×7 feet in size and will hang in the post office. We can recommend then to the business men of other places as good and reliable workmen.” They soon became known as the Minor Bros., with their younger brother Charlie entering the business too.
They initially focused on sign painting and outdoor advertisements. On Jan. 29, 1886, the “Smith Bulletin” of Smith Centre, Kansas, reported, “The Chicago Lumber Co. has had a neat, new sign painted on the north side of its large lumber shed. The work was done by the Minor Bros. the boys who painted the scenery for the tabernacle” (page 3). In 1887 they placed a whole series of advertisements in local newspapers that consisted of very brief statements, including: “Gilt-edged and artistic lettering by Minor Bros,” “Minor Bros. for skillful and tasty sign painting,” and “Minor Bros are literally bespangling the town with gorgeous signs.” By the fall, George became the first brother to marry.
On September 5, 1887, Eddie Minor married Lillie Beery in Geary County, Kansas. Lilian Priscilla B. Beery (1870-1941) was the daughter of Martin Beery (1839-1879) and Miriam C. Griffith (1842-1909). The Beery family had moved from Tiffin, Ohio to Junction City, Kansas, about the time Lillie was born. It was in Junction City that Lillie met her future husband, and soon the couple celebrated the birth of their first son, Charles Kendall Minor in 1888. Their second son was born twenty-five years later. George Edward Minor Jr. was born in 1913.
It remains uncertain as to when George began working for Sosman & Landis, however, Will and Charlie were working for the firm in Denver, Colorado, by 1890. My guess is that in 1892. Eddie, now going by G. E., was likely working as a salesman for the firm.
That same year, a humorous story appeared in the newspaper about a Sosman & Landis scenery order from Saddle Rock, Iowa. On Nov. 26, 1892, the “Los Angeles Evening Express” reported, “At Saddle Rock, Iowa, a new manager sent an order to Sosman & Landis, Chicago, scenic artists, for ten yards of woods, sixteen feet of prison cells, on-half mile of bridges and one quarter acre of sky. Someone told him they. Had those already painted by the bolt and tore off what was ordered” (page 6). Humor aside, Sosman & Landis had produced mail order scenery since 1879; it was part of their initial marketing ploy, shipping scenery without ever visiting the venue. They had to have encountered a wide range of characters by this point.
By 1895, all three brothers were working in the scenic art business, but now for the Chicago Scenic Co. Their projects were periodically mentioned in the Seneca newspaper, making me wonder if the Minor Bros. unofficially established the firm. On May 3, 1895, “The Courier-Tribune” of Seneca, Kansas, reported, “Charles, W. M. and G. E. Minor, of Chicago, are in this city visiting their many old friend and acquaintances. They are the sons of Jno. O. Minor and formerly lived in Seneca, but the parents of the boys, Mr. and Mrs. J. O. Minor, now live in Baileyville. The three young men above mentioned are now with the Chicago Scenic Co., and are doing a nice business. They are working on the Crawford circuit and doing jobs at St. Joseph, Atchison and Topeka. Will painted the first drop curtain for the Grand Opera House. He picked up his trade while living here, and now all three are recognized as experts in this line. Will also painted the drop curtain for Sabetha and Hiawatha G. A. R. Halls. They are a nice lot of boys who have come right to the front” (page 3).
Projects at this time included the opera houses in both Junction City and Salina. On May 9, 1895, the “Junction City Tribune” reported, “Will, Charlie and G. E. Minor of Chicago are visiting friends and will renew the old and paint some new scenery for the opera house while here” (page 5). On June 10, 1895, Junction City’s “Daily Sentinel” reported, “G. E. Minor left today for Salina to commence his contract of painting and renewing curtains and scenery at the opera house. The Minor Bros. are fine gentlemen and fully understand their business” (page 3). This notice was followed up on June 15, 1895, when the “Junction City Weekly” reported, “G. E. Minor went to Salina Monday” (page 2).
The Minor Bros. were still working for the Chicago Scenic Co. in 1896. On May 4 of that year, “Stevens Point Daily Journal” in Wisconsin reported, “Minor Bros. of the Chicago Scenic Co. have finished painting a handsome advertising drop curtain for the Opera House. The curtain will be used between acts. The gentlemen are also painting curtains in Waupaca and Grand Rapids” (page 4). Around this time, George Minor’s wife and children settled in Leavenworth, Kansas. Meanwhile, G. E. Minor drifted from one theatre project to the next. On Oct 22, 1896, the “Leavenworth Times” reported, “Mrs. G. E. Minor and her son Kendall, left yesterday for Junction City to visit a month with friends and relatives” (page 5).
It remains unclear as to how long the Minor Bros. were associated with Chicago Scenic Co, yet the firm continued to operate for two more years. In 1898 they were credited with delivering scenery to the opera house in Abilene, Kansas.
In 1899 the Minor Bros. were still working together, but I don’t know if this meant all three brothers, or just two. On Feb 24, 1899, “The Courier-Tribune” of Seneca, Kansas, reported, “The Minor Bros. have taken the contract to paint the stage scenery for the Catholic school hall. They are at work on it now and doing a fine job. The Minor boys have the reputation of being as fine scenic painters as there are in the country and have done work in all the large cities from Chicago to the Pacific coast. They started to paint in Seneca years ago under the tutelage of J. Y. Benfer.”
I want to briefly include a little background on John Y. Benefer (1844-1913). Benefer was living in Seneca when the Minor family arrived in 1882. That year, both Benefer and J. O. Minor were listed as members of the GAR when the George Graham Post was established in Seneca. Benefer ran a paint shop and worked as a sign and carriage painter in Benefer at the same time the Minor Bros. began their painting business. Born in Pennsylvania, Benefer learned the painting trade in Norfolk, Ohio, just prior to the Civil War. After the war, Benefer moved west, eventually settling in Seneca. Benefer ran a paint shop for ten years, but later in life he worked as an architect. He is credited with the many homes and business not only in Seneca, but also throughout Nemaha County.
On July 27, 1900, the “Junction City Weekly” reported, Mr. G. E. Minor went east today to take in Kansas City, Chicago, and Calumet, Mich.” (page 8).That same year William Minor working for Sosman & Landis. On July 20, 1900, the “Marengo Republican” of Marengo, Illinois, reported, “William Minor, representing the firm of Sosman & Landis, the great scenic artists of Chicago, has been for the past two weeks painting new scenery and redecorating the old at the local playhouse.” It remains unclear if G. E. Minor was still working in the painting industry at this time.
By 1904, G. E. Minor was working for the Red Wing Advertising Co, of Kansas City. This was a regional branch of the Red Wing Advertising Co. in Red Wing, Minnesota. The firm employed both men and women in their traveling sales department, sending them across the country with advance cards and samples. George’s work for the company in 1904 was noted in “The Seneca Tribune” on Sept. 15, 1904. An article about his father’s sixty-seventh birthday celebration included the current occupations of William, Eddie, Harry and Charles, listing, “W. Mansel Minor, scenic artist of New York, G. E. Mino, representing the Red Wing Advertising Co, of Kansas City, Harry Minor, with Brown & Bigelow making specialties for advertisers and Charles Minor, scenic artist of Chicago.”
George’s travels continued to be noted in the Seneca newspaper, especially whenever he visited home. On Nov. 29, 1906, the “Courier-Tribune” of Seneca, Kansas” reported, “G. E. Minor of Kansas City, visited his parents, J. O. Minor and wife last week” (page 8). George continued to work in sales over the years, but his focus was constantly shifting from one industry to the next. By 1910 he was working as a salesman for an insurance company in Kansas City, Missouri, living with his wife Lille (39) and his oldest son Charles K. (21).
By 1913, he began helping his brother Harry, attempting to include the Old Santa Fe trail as part of the new transcontinental highway system. On Nov. 14, 1913, the “Democrat-Opinion” of McPherson, Kansas, reported, “The Minor Bros., J. Harry and G. E., and George Loundsbury of Kansas City, representing the National Old Trail Association, held a meeting in the Opera House Monday evening. They are working for the Old Trail Association and are boosting the old Santa Fe Trail as part of the link of the paved highway from New York to Los Angeles and San Francisco. They delivered log books showing the route of the Old Santa Fe Trail, and went west along the historic route” (page 5). Years later, his brother Harry would be remembered as a “Pioneer Road Surveyor.” When Harry Minor died in 1941, his contributions were heralded in the “Los Angeles Times.” I am including the article in its entirety as I find it fascinating.
On March 16, 1941, “Los Angeles Times” reported:
“Pioneer Road Surveyor Dies.
John Harrison Minor, 72, Prepared Coast-to-Coast Highway Guide in 1914.
John Harrison Minor, 72, known as “J. Harry,” pioneer automobile highway map surveyor died yesterday morning of cerebral hemorrhage at the General Hospital.
He lived in Southern California seven years, making his home at 2014 N. Argyle Ave., with his wife, Mrs. Nellie Minor, and son, Charles Harrison Minor. He was born in Keithsburg, Illinois.
Prepared Guide.
In 1914, when preparations were under way for the Pan-American Exposition in San Diego, and when automobiles were classed as luxuries, Mr. Minor and his son toured from New York to California, preparing the first transcontinental road guide over the National Old Trails Road. U.S. Highway 66 and 40, in various parts of the country were mapped at that time. The trip was so successful that Mr. Minor mapped the entire United States, preparing maps for the Official Tourist Information Bureau.
FIFTEEN VOLUMES.
Fifteen volumes of his road guide ran into 65 editions, on file in the Library of Congress.
Besides his widow and son, he leaves a daughter, Mrs. C. A. Warner of Bloomfield, N.J.; two brothers, Charles P. and Burt A. Minor of Topeka, Kan.; a sister Mrs. G. A. Lansberry of Kansas City, Mo., and four grandchildren” (page 38).”
While Harry crossed the country, G. E. Minor remained in Kansas City, soon setting his sights on the stock and bond trade. The remainder of Minor brothers joined in the game. William Minor even left his successful scenic art career to become a Kansas City broker by 1918. This says a little bit about the family. The Minor brothers continued to support one another over the years. Initially, it was the painting trade. Later in life it was stocks, bonds, insurance and oil.
In 1919, George partnered with Walter S. Nevins to establish the brokerage firm of Minor & Nevins, located at 502 Waldheim building in Kansas City. Both William and George became brokers at h this time. George Minor briefly returned to work as a salesman in 1921, as did his son Charles K. Minor, who was again living at home, now working for T. H. Mastin & Co. The entire Minor family remained quite active in the business community, with G. E. being elected as president at a J. C. Reunion that year; the event was even held at the Minor home, 5316 Oak Street (“Junction City Weekly Union,” 8 June 1922, page 1).
Their former Sosman & Landis boss, Thomas G. Moses, continued to visit the Minor Bros. over the years. In 1929 Moses recorded that met up with G. E. and Charles Minor in Kansas City. Of the reunion, he wrote, “I called on the Lilley Company – (regalia company). Met Mr. Butcher, the assistant manager. He called up my friends the Minors – Ed and Charlie, and they came down to see me. Had a very pleasant visit.” Almost four decades had passed since Moses hired the Minor brothers.
By 1930, George began a new business endeavor, one that seemed quite promising at the time. The census that year listed his occupation as a proprietor of the Farm Crop. His son Charles K. was listed as a salesman with the Farm Corps. too. It was a new company. On Jan. 4, 1930, the “Kansas City Star” announced that the Farm Corps. was a “New Kansas Wheat Concern” (page 3). The article continued, “G. E. Minor, of 5316 Oak Street was given contract for the fiscal agency of the Kansas Farms Corporation. The article noted, “The Kansas Farms Corporation, the latest addition to the group of incorporated farming enterprises in Kansas, was granted a charter Dec. 31 at Topeka. Its purpose is to industrialize wheat farming and produce wheat on a large scale with the aid of modern machinery. The officer and directors that year included: J. M. Rinker, WaKeeney Kas., a wheat grower, forty-five years in the section, and owner of 3,600 acres of wheat, president.; G. E. Minor, formerly in the bond business here, first vice-president. Others included bankers, lawyers and a retired wheat grower. The article added, “The Kansas Farms Corporation will maintain offices in Topeka and Junction City and later probably in Kansas City.”
G. E.’s association with the company didn’t last and he set his sights higher – on oil. He was continuing to hustle, constantly traveling the country; his body finally gave out. On May 15, 1940, the “Kansas City Star” headlined, “George Edward Minor. Oil Salesman Stricken Fatally on Trip to New York” (page 8). The obituary continued, “George Edward Minor, 73 years old, 5313 Holmes street, died in a hotel in New York, where he had gone on business. Mr. Minor had lived in Kansas City thirty-five years, coming here from Junction City, Kansas. He was an active member of the Shrine and of the Second Presbyterian Church.
He leaves his wife, Mrs. Lillie B. Minor, and two sons, C. K. Minor and George E. Minor, jr., all of the home; a sister, Mrs. George A Lansberry, 5811 Woodland av and three brothers, B. A. Minor and Charles P. Minor, both of Topeka, and J. H. Minor of Los Angeles. Burial will be in Junction City.”
His wife Lillie passed away the next year, on April 17, 1941.
William M. Minor was a scenic artist who worked at Sosman & Landis from approximately 1890 until 1900. He painted all over the country, sporadically returning to represent the Chicago-based firm. His two younger brothers Eddie and Charlie Minor also started as scenic artists and worked for Sosman & Landis over the years too.
William M. Minor grave in Forest Hill Cemetery in Kansas City, Missouri.
The Minor Bros. were well known throughout the Midwest and West, with their scenic art featured at theaters in Kansas, Missouri, Colorado, Utah, Illinois and Minnesota. It is almost impossible to tell the story of one brother, without mentioning the lives and careers of the others. They all worked together at one time or another; the family was a close-knit one. Each artistically-gifted son was mentioned at their father’s sixty-seventh birthday celebration, so I’ll start with the family members and patriarch of the clan, J. O. Minor.
John O. Minor (1837-1912) was a Civil War Veteran and later member of the Seneca, Kansas, post of the G.A.R. In 1902 George Graham Post No. 92, G.A.R., listed Minor’s past military service as a private in Company G of the 102nd, Illinois. John married Mary A. Brown (1840-1880) on Dec. 27, 1859, in Illinois and the couple celebrated the birth of one daughter and four sons before moving from Illinois to Kansas in 1879. The Minor children included: Nora (1862) William M. Minor (1864), George Edward Minor (1866), J. Harry Minor (1869), Charles P. Minor (1870), and Bert Minor (1880). After Mary’s passing in 1880, John remarried; his second was Rosa Hasson. John and Rose were married on October 19, 1882. They celebrated the birth of two children: Dollie (1887) and Jas. (1888).
J. O. Minor’s 67th birthday was published in “The Seneca Tribune” on Sept. 15, 1904; he passed away eight years later. Here is the article in its entirety as it really sets the stage, providing a sneak peek into the boys’ professions at the time:
“A SUNDAY ANNIVERSARY.
Mr. and Mrs. J. O. Minor Celebrate Mr. Minor’s Birthday with the Family Home and Happy.
Last Sunday was J. O. Minor’s sixty-seventh birthday, and they planned to celebrate the event by inviting all the children home once more and making the day one of social and family reunion. All the children, excepting the son Bert, got home safely, and sat down to a birthday dinner – making father and mother very happy, and the children enjoyed the day too. Bert is running a show and was billed for a town in Indiana that made it impossible for him to get out to Kansas last Sunday. This gathering was the first that all these children had been together for nine years, and it was eight years previously since they had met in re-union and then in Chicago. There were twenty-two at dinner. Those outside the immediate family being Allen Kerns and family of Baileyville, Mrs. J. W. Larimer of Washington, District of Columbia, a sister-in-law of Mr. Larimer. Of the children present Mrs. G. A. Lansberry of St. Louis, the daughter was unaccompanied by the husband. The four boys had their wives along and were, W. Mansel Minor, scenic artist of New York, G. E. Minor, representing the Red Wing Advertising Co, of Kansas City; Harry Minor, with Brown & Bigelow making specialties for advertisers and Charles Minor, scenic artist of Chicago.
Mr. Minor came to Seneca twenty-two years ago from drouth-stricken Rooks county out in western Kansas – poor and with this large family then all small and mostly dependent. But they were an ambitious lot, and took to any kind of work offering a chance to earn a nickel. Mr. Minor himself was a blacksmith and worked at his trade. The boys and girls all attended the public schools in Seneca, which gave them all the educations they started out in life. Out of school the boys helped their father along with work – they set fence posts for Bassett on his farms and helped dig the cellar for Dan Firstenberger’s store. These are only sample jobs; they were up and doing, and asked if any of them graduated from our school the answer came – “No we were too busy to graduate!”
But they proved rustlers, these Minor boys did; and in their work one or the other of them have been in every state in the Union excepting California; that state comes next, and the Uncle Sam’s outlying possessions. They have been to Cuba already.
Mr. Minor and the children, sons and daughters-in-law and all, were about town Monday morning; Mr. Minor was very proud of the flock, and they were glad to see so many in Seneca once more whom they had known in the years gone by. It is a fine thing to come back to the old town to receive only glad greetings from evert one; left Seneca with a good name and never ashamed to go back to the old home!”
The Minor’s first lived in Farmington, Kansas, in the 1880 US Federal Census. In Farmington, the Minor household included John O. (43), Mary (41), William M. (16), Eddie (14), Harry (12), Charles (10) and “Bertie” (9 mths). They remained in Rooks County until 1882 when they moved Nemaha County, settling in Seneca, Kansas.
After moving to Seneca, 18-yrs. old William became a scenic artist, with Eddie soon following suit. By 1884, William M. Minor was listed in the “Kansas City Directory” as a scenic artist, boarding at the Morgan House. He was only listed in the directory for a year, and soon returned to the family home in Seneca, taking small painting jobs in the area. On Dec. 11, 1884, the “Sabetha Weekly Herald” reported, “William Minor and Son, of Seneca, scenic artists, painted the most artistic sign filled with cards which hangs in the post office building, Go in and examine it. It is a daisy. These gentlemen make it a specialty of this business” (page 3). The “son” was obviously a misprint; he was working with his younger brother Eddie. The 1885 Kansas State Census listed both William and Ed as painters; they were primarily working in Junction City, Kansas, at the time.
That year, William and Ed were primarily known for their sign painting. On Feb. 7, 1885, the “Carbondalian” of Carbondale, Kansas reported, “Minor Bros. (William and Edward) of Kansas City, have painted a very fine business directory for our business men. It is on canvas background with a large moulded frame, about 5×7 feet in size and will hang in the post office. We can recommend then to the business men of other places as good and reliable workmen” (page 4).
The two expanded their business enterprise, leasing the Seneca Skating Rink. On March 19, 1885, the “Junction City Tribune” reported. The Minor Bros, of Seneca, have leased the Skating Rink for one year of Mr. Shull, and are making extensive changes in the appearance of the interior. It is really wonderful what changes a little paint makes when skillfully applied, and these Minor brothers are real artists in this line. Wednesday evening for the first time under new management. The decorations, though quite incomplete as yet, are quite tasty” (page 3). This did not last for long and soon the two were solely painting signs again.
On Jan. 29, 1886, the “Smith Bulletin” of Smith Centre, Kansas, reported, “The Chicago Lumber Co. has had a neat, new sign painted on the north side of its large lumber shed. The work was done by the Minor Bros. the boys who painted the scenery for the tabernacle” (page 3).
From March until June of 1887, the Minor brothers posted a series of advertisements in the Junction City Daily Junction. Their advertisements were briefly worded, including:
“Minor Bros. for signs”; “Minor Bros. for skillful and tasty sign painting”; “Gilt-edged and artistic lettering by Minor Bros.”; “Minor Bros are literally bespangling the town with gorgeous signs”; and “Minor Bros. will make all styles of numbers at one-third less price than anyone else.”
Charlie Minor began joining his older brothers on projects, accompanying his brother William to Denver, Colorado, in 1890. The 1890 “Denver City Directory” listed William M. Minor as an artist, living at 1827 Glenarm. In Denver, both William and Charlie were hired as scenic artists by Sosman & Landis for the Broadway Theatre scenery project.
Thomas G. Moses was responsible for all of the scenic designs and on-site supervision of painting. The drop curtain, entitled “A Glimpse of India,” was considered a local masterpiece and was the focal point of the auditorium. The on-site Sosman & Landis painting crew included Moses, William Minor, Charlie Minor, Ed Loitz, and Billie Martin. The team not only delivered the drop curtain, but also the entire stock scenery collection. The project included a massive cyclorama. Of 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.”
The Broadway Theatre was part of the new Metropole Hotel, designed by Chicago architect Col. J. W. Wood. Wood had worked with Sosman & Landis on many theater projects prior to this one. The building was advertised as one of the first “fireproof” hotels in the country; the construction employed hollow clay fired tile units for all partition, floors, ceilings, and walls. By this time, Sosman & Landis were also fireproofing much their scenery. They continued to advertise asbestos curtains and fireproof scenery, even placing newspaper advertisements over the years.
1910 advertisement in June issue of Billboard.
The Broadway Theatre opened August 18th, with “Bohemian Girl” by Look’s Opera Company, but this did not mean the project was completed. Moses was called back to the studio in early September, with the Minor Bros. and Loitz remaining to finish the interiors. The contract was not completed until November, 1890. Shortly after the project ended, William Minor married Minnie Hill on Dec. 12, 1890, in Denver, Colorado. The couple soon moved east to Chicago, where William remained a scenic artist at Sosman & Landis, before joining the Chicago Scenic Co. They continued to visit family in Kansas, with reports of their travels published in local newspapers.
On May 3, 1895, “The Courier-Tribune” of Seneca, Kansas, reported, “Charles, W. M. and G. E. Minor, of Chicago, are in this city visiting their many old friend and acquaintances. They are the sons of Jno. O. Minor and formerly lived in Seneca, but the parents of the boys, Mr. and Mrs. J. O. Minor, now live in Baileyville. The three young men above mentioned are now with the Chicago Scenic Co., and are doing a nice business. They are working on the Crawford circuit and doing jobs at St. Joseph, Atchison and Topeka. Will painted the first drop curtain for the Grand Opera House. He picked up his trade while living here, and now all three are recognized as experts in this line. Will also painted the drop curtain for Sabetha and Hiawatha G. A. R. Halls. They are a nice lot of boys who have come right to the front” (page 3).
Their visits and projects continued to make Kansas newspapers in the 1890s. On May 9, 1895, the “Junction City Tribune” reported, “Will, Charlie and G. E. Minor of Chicago are visiting friends and will renew the old and paint some new scenery for the opera house while here” (page 5). On May 4, 1896, the “Stevens Point Daily Journal” in Wisconsin, reported, “Minor Bros. of the Chicago Scenic Co. have finished painting a handsome advertising drop curtain for the Opera House. The curtain will be used between acts. The gentlemen are also painting curtains in Waupaca and Grand Rapids” (page 4).
They also remained connected to the western theater scene in Colorado and Utah. On August 19, 1897, the Avalanche-Echo of Glenwood Springs, Colorado, (Vol X Number 33, page 4) announced the hotel arrival of William and Charles Minor at the Kudrick. By 1910 William relocated to Salt Lake City, Utah, where he would become the scenic artist at the Salta Lake City Theatre. Prior to that, however, he continued to work with his brothers all over the country.
On Feb 24, 1899, “The Courier-Tribune” of Seneca, Kansas, reported, “The Minor Bros. have taken the contract to paint the stage scenery for the Catholic school hall. They are at work on it now and doing a fine job. The Minor boys have the reputation of being as fine scenic painters as there are in the country and have done work in all the large cities from Chicago to the Pacific coast. They started to paint in Seneca years ago under the tutelage of J. Y. Benfer.”
That year, William M. Minor was listed in the 1899 “Minneapolis City Directory,” living at 621 7th Ave S. He was listed for just the year, as the 1900 US Federal Census listed William Minor living in Chicago at 161 Winchester Avenue. His household at the time included wife Minnie (36) and sister-in-law Grace Swickard (16).
In Chicago he was again representing Sosman & Landis. On July 20, 1900, the “Marengo Republican” of Marengo, Illinois, reported:
“New Scenery in the Opera House. William Minor, representing the firm of Sosman & Landis, the great scenic artists if Chicago, has been for the past two weeks painting new scenery and redecorating the old at the local playhouse. A new drop curtain has been added which is a beautiful marine view from the coast of Maine. It is extremely handsome, and the completion of the work shows Mr. Minor to be an artist of unquestionable ability and keen perception of nature. The coloring, from deep sea blue to the light grey of the surf, is exquisite and the dash of the rising spray adds life and vigor to the scene. A handsome new interior scene is also being added, far superior to anything ever seen here, besides several other new sets. The opening for the coming season will be Wednesday evening, August 1st, Bartlet & May’s, “A Woman in the Case” being the play” (page 5).
From Chicago he moved west again, setting in Utah. His name first appears in a “Salt Lake City Tribune” want ad on Dec. 24, 1906 (page 9): “WANTED – INFORMATION OF THE present residence of William Minor, a scenic artist. Address X 49. Tribune” (page 8). He disappears from print for a while and it is not until 1910 that he is included in the “Salt Lake City Directory.”
In 1910, William was listed as a scenic artist living at 235 E 4th S. in Salt Lake City. His household includes wife Minnie and lodger F. V. Ogle, a dressmaker. At the time, he is working at the Salt Lake Theatre.
On September 18, 1910, “The Salt Lake Herald-Republican” reported, “After thirty years of almost continuous service, the drop curtain at the Salt Lake theatre is to be replaced by a new one which Manager George D. Pyper expects to have in place in time for the engagement of Henry Miller, beginning Sept 29. The subject of the new curtain will be the Salt Lake valley in the days of the pioneers, and it will be copied from a painting by William M. Minor, scenic artist at the theatre.
It will be difficult to exceed beauty of the old curtain, whose artistic coloring and good drawing have made it a favorite for years, “The Return of the Victorious Fleet” was painted by Henry C. Tryon [also a Sosman & Landis artist], one of the best artists in this line who ever came to Salt Lake, Those who have studied the stately ships coming into harbor may have wondered at the absence of life in the picture. The original, which is in the possession of Mr. Pyper, contained a crowd of people on the steps of the buildings, but Mr. Tryon was not a figure painter, and rather than mar his painting by inferior work, left them out altogether.
Except for short intervals, “The Return of the Victorious Fleet” has hung in the theatre nearly thirty years. Some years ago, an attempt was made to replace it by a picture of the chariot race in “Ben Hur.” The artist made the horses of heroic size, and so near the edge of the curtain that they sat close. One critic of the day said that a certain scene in a play created a strong effect until “Pyper’s horses came clattering down.”
The artist attempted to remedy the defect by drawing them smaller, when Le Grand Young, a regular patron of the theatre, objected to sitting in front of a horse that had one shoulder out of joint. That finished the curtain, and the same artist painted a second, an evening scene in Venice, which was hung for about a year. Another curtain which will be remembered was a field of carnations. This was secured from the Tremont theatre in Boston, but, though it was kept for nearly three years, did not prove to be popular, “The Return of the Victorious Fleet” was rehung, and has continued in place until now. With the closing performance of “The Spendthrift,” it was rung down forever” (page 26).
Salt Lake TheatreSalt Lake theatre with temporary “Ben Hur” drop curtain.
While working at the Salt Lake Theatre, Minor takes an interest in early movie screen development. On Sept. 14, 1910, the “Salt-Lake Herald-Republican” reported:
“Moving Picture Screen.
William M Minor, scenic artist at the Salt Lake Theatre, has applied for a patent on an invention which he calls Minor’s Wonder Moving Picture Screen. It is a cloth screen with a burnished metallic surface that adds distinctness to the picture that is thrown upon it. Last evening at the Orpheum theatre, preceding the regular performance, a test was made of the invention which impressed a score of invited spectators favorably. Seven by twelve feet of the entire scene was of the new material, and the remainder was the usual cotton cloth. This arrangement afforded opportunity for comparison between the two surfaces, and the mirror-like distinctness of the pictures on the metallic surface argued well for the success of the invention. Mr. Minor has experimented with the screen for about three months and since he received a receipt from the patent office, on Saturday last, has been testing the invention before private audiences. On Monday night it was tried at the Murray opera house.”
From 1910 to 1915, William M. Minor was listed as an artist in the Salt Lake City Directory. In 1912, William’s occupation was listed as a “scenic artist and float building;” this designation was listed upon admittance to the Salt Lake City Commercial Club (“Salt Lake Tribune”7 Dec. 1912, page 16). By 1913 Minor was also working as the scenic artist at the Colonial Theatre.
And then there is a slight career shift. In 1916, he was listed as the president of “Secret M & M Co.”,” still residing at the same home address, 235 E 4th South.” At this time, I have no information about the Secret M & M Co., but am hazarding a guess that it was mining or oil.
In 1918, Minor moved from Salta Lake City to Kansas City, changing his profession entirely. Like his brother Ed, William became a broker at this time and was listed in the “Kansas City Directory” as such. I will explore the life and career of Ed tomorrow, but need to point out something for context. Over the years Ed had managed to convince each one of his brothers to participate in some sort of business scheme, often a non-theatre related one with potential of enormous profits. Ed was the stereotypical “wheeler and dealer.”
By 1920, the “Kansas City Directory” listed William M. Minor as broker in the Oil Co., living with his wife Minnie at 3343 Forest Street in Kansas City, Missouri. Williams’ newfound career did not last for long; he died the next year. On May 12, 1921, “The Courier-Tribune” published William’s obituary (page 3):
“William M. Minor, stepson of Mrs. J. O. Minor, died suddenly Friday afternoon at his home, 3348 Forest Ave. Kansas City, Mo. Mr. Minor was fifty-seven years of age and was the eldest son of the late J. O. Minor. When a boy he lived in Seneca. He is survived by his widow, Mrs. Minnie Minor; four brothers, George E. Minor, J. Harry Minor, Charles P. Minor and B. A. Minor and a sister Mrs. G. A. Lansberry of Topeka, a half-sister, Mrs. Balie [sic.] Keith of Seneca and a half brother, James Minor of Sabetha. Mrs. J. O. Minor went to Kansas City Saturday morning to attend the funeral.”
Frank Ford worked at Sosman & Landis between 1885 and 1888. He began working at the firm during a period of rapid growth as the as projects were delivered nationwide. By 1887, Sosman & Landis employed twenty-five scenic artists, with many going on the road to both paint and install stock settings. Drop curtains with business cards were becoming increasing possible, necessitating Sosman & Landis representatives to solicit local businesses during their stay. Ford worked as a salesman, scenic artist, and installer for the firm. During the mid- to late-1880s, Ford primarily worked on projects in Indiana, Pennsylvania, and New York.
Frank R. Ford was a Chicago scenic artist that worked at Sosman & Landis in 1887. That year he represented the firm in the eastern region, completing a variety of tasks that included sales and installation.
He was the son of William Ford and Loretta, born on Jan. 12, 1862, in Perry Township, Ohio. In July 1863, his father enlisted in the Union Army. In the midst of Civil War, William and Loretta celebrated the birth of another son. Claude D. Ford was born in Rockford, Illinois, in 1864. Sometime between 1864 and 1870, the Fords moved due east of town to Cherry Valley. For geographical context, Cherry Valley is approximately 80 miles northeast of Chicago. The 1870 US Federal Census listed the Ford household as including: William (29 yrs.), Loretta (28 yrs.), Frank (7 yrs.) and Claude (5 yrs.), living in Cherry Valley, Illinois. For. By 1874, the Fords celebrated the birth of another child, William Ford, Jr. When their youngest son was born, Frank was 11 yrs. old and Claude was 9 yrs. old.
By 1880, the Ford family had again relocated, this time to Chicago. The 1880 US Federal census that year records that William Sr. was employed as a carpenter and the family was living at 298 Carroll Ave. By now, Frank was out on his own and the Ford household only included (William (39 yrs.), Loretta (39 yrs.), Claude (15 yrs.) and Willie (6 yrs.).
Frank eventually returned to the family home, now located on 787 W. Lake St. in Chicago. At the time, his father was working as a builder at 5 S. Wood. Interesting in 1883, 787 W. Lake was listed in the rental section of “The Inter Ocean,” listed as an 8-room frame house with good barn for $30 (22 April 1883, page 6). When the Fords took over the property, there is no indication that anyone other than family members were living there.
The first listing for Frank R. Ford in the Chicago Directory as a painter appeared in 1885. He was living on W. Lake St. with his extended family. His younger brother Claude followed in their father’s footsteps and became a carpenter, working for his father’s contracting firm; and it became quite a successful firm. In 1890, William M. Ford operated W. M. Ford & Co. His business was located just up the street from their home at 820 W. Lake St. This was a very short walk from the Sosman & Landis Studio on S. Clinton St.
He was also working for Sosman & Landis at this time, and was noted as representing the firm in Princeton, Indiana. On October 8, 1885, the Princeton Clarion Ledger” of Princeton, Indiana, reported, “Mr. Frank Ford, from Sosman & Landes’ [sic.] studio, Chicago, was in Princeton Monday taking the dimensions of Euterpe hall stage. He proposes, if the business men sufficiently encourage the matter, to put in a fine $150 drop curtain. Advertising space will be sold around the margin of the curtain and in the center, there will be a beautiful landscape painting. A set cottage, two front wings, sky border and a grand drapery in front, together with the gas footlights are some of the improvements to be made in the hall in a few weeks, There will be no more hitching of the drop curtain in the middle of a death scene, while the dying person is compelled to walk off stage before the audience” (page 4). Euterpe Hall was a two-story building constructed in 1881 by W. D. Downey and W. P. Welborn. The hall was located on the second floor, over W. D. Downey’s “New York Store According to “The History of Gibson County, Indiana” by Jas. T. Tartt & Co. in 1884, the stage measured 50-feet by 30 feet and included a full set of scenery (page 163). Euterpe Hall was destroyed during the fire on July 12, 1893. It was one of sixty-eight buildings destroyed during the downtown fire.
In 1885, Sosman & Landis also delivered at many venues at this time. They provided a full set of scenery for the new auditorium for G.A.R. Post No., 175 in Sabetha, Kansas (Nemaha County Republican, 5 Feb. 1885, page 5). They installed scenery at the rink in Canton, Pennsylvania (The Canton, Independent, 3 July, 1885, page 1). They delivered scenery to the new opera house in Newton, Kansas, installed by the firm’s stage carpenter Charles S. King (The Weekly Republican, 4 Dec, 1885, page 5).
The following year, he married Catherine “Katie” Smith (Schmidt) on Nov. 4, 1886. The couple celebrated the birth of four children:
Birth of children: Loretta F., Florence M., William F., and John Claude Ford. Between 1887 and 1889, the Ford family was living at 80 Delaware Place in Chicago, although Frank was on the road most of the time.
During the spring of 1887, Ford was working on projects in Pennsylvania: the Armory/Opera House in Nanticoke, the Music Academy in Pottsville and Smith’s Opera House in Plymouth. I am including a map to show the relationship between the three towns in the region.
Location of Pottsville, Nanticoke and Plymouth, Pennsylvania.
On Feb 13, 1887, the “Sunday Leader” in Wilkes-Barre, Pennsylvania, reported, “Mr. Frank Ford, representing Sosman & Landis, the well-known scenic artist of Chicago, is trying to obtain advertisements to be placed on a new drop curtain which he intends hanging in Smith’s Opera House” (page 24). J. B. Smith’s Opera House was located in nearby Plymouth, Pennsylvania.
It is the scenery delivered to Nanticoke, however, that provides a wonderful glimpse into the stock collection that was manufactured and installed by Sosman & Landis during this time. I am including four articles about the project, as the Armory was constructed to also function as an opera house, outdoing the local Music Hall. Sosman & Landis, Frank Ford, was also repeatedly mentioned in regard to the new scenery installation.
On Feb. 24, 1887, the “Wilkes-Barre Times Leader” reported, “Nanticoke’s New Opera House. Something About the Fine Amusement Resort Now Nearing Completion. A want that has long been felt by people of the thriving and rapidly growing town of Nanticoke is now about to be supplied” (page 1).
The article continued, “The new armory of Company G, Ninth regiment, is to be used also as an opera house, and is now being fitted up for that purpose. The building is a commodious one, substantial and beautiful.
Mr. Frank Ford, of the firm of Sosman & Landis, Chicago, is now in Nanticoke putting up scenery to be used for show purposes, The stage opening will be twenty-four feet, height of center arch sixteen feet, height of ceiling over stage thirty-two feet, depth of stage thirty-five feet, width of stage fifty feet. The stage will have a pitch from rear to front of about twelve inches. The floor will be level, but the stage being four feet above it, and having a pitch, as stated, all patrons will be afforded a good view of all that is being enacted thereon. The body of the hall will be furnished with moveable seats, but the galleries permanent. Thus, the hall cannot be used alone for theatrical purposes, but also for balls, fairs and festivals as well as for drilling. Its seating capacity will be about 1,400, or about 150 more than Music Hall in this city. The galleries will seat over 400. The scenery which Mr. Ford is about to place in position consists of a curtain upon which the cards of several businessmen will be artistically painted; an elegant drop curtain representing a romantic and historic view, with rich and elaborate drapery and gold frame; a center door fancy scene; a plain chamber scene; a kitchen scene, a rustic interior with a door and double window; a prison scene, showing interior of prison with massive walls, heavy iron door, grated window and perspective view of corridor and cells; a wood scene, showing leafy wood and pathway leading through; a garden scene representing a lovely park, or lawn, with fountains, balustrades, vases of flowers, etc.; a street scene; a rocky pass, mountain landscape with snow-capped peaks in the distance, rugged chasms and immense rocks in the foreground; horizon, a view of the ocean with beautiful sky and cloud effects; tormentor wings, representing columns with elaborate bases and rich drapery at top and side; parlor wings, kitchen wings representing the trunks of trees and foliage, grand drapery border made to represent rich and massive drapery; sky borders made of light blue sky tint; set waters and foreground; set rocks; set cottage with door and window. All this scenery is of the finest kind and entirely new. The people of Nanticoke are to be congratulated in acquiring this fine amusement resort.”
On March 19, 1887, “the Tribune” of Scranton, Pennsylvania, reported, “The scenery now being put in the Nanticoke Armory is spoken of as being very fine and very complete. The work is under the supervision of Frank Ford, of Sosman & Landis, Chicago.
On March 26, 1887, the “Dollar Weekly News” of Wilkes-Barre, Pennsylvania, included an update about the Armory:
“The Armory is located on Broadway, near Arch street. It is a two-story, brick structure, with a large basement. It presents a unique and neat appearance and is one of the best buildings in Nanticoke. It is 115 feet long and 53 feet wide. There is only one entrance in front, but it is a large one. The basement has an entrance I the south side of the building. The basement is large and spacious. In the front portion is the kitchen and refreshment department, 50×30 feet. A part of the rear portion is occupied by the gas machine, while the other part can be used as a storage room. On the first floor is what is known as the drill room. On each side of the entrance are storage rooms. To the left of the entrance is a stairway that leads to a large and roomy gallery, that is shaped like a horseshoe. A large, well-furnished and well-equipped stage occupies the rear end of the drill room. The stage is 50 feet long and 24 feet wide. Twelve sets of magnificent new scenery have been put in place by Col. Frank Ford of Chicago, who represents Sosman & Landis, scenic artists of Chicago. The scenes represent a parlor, plain chamber, kitchen, prison, woodland, garden, street, rocky pass, horizon or ocean. Besides these are tormentor wings, parlor wings, kitchen wings, wood wings, grand drapery border, sky border set waters, and foreground, set rocks, set cottages and last , but not least, and elegant and costly drop curtain. The scenery far surpasses that at Music Hall, Wilkes-Barre. The stage is equipped with modern appliances. There are four dressing rooms, two at each side of the footlights and they occupy the space usually filled by the boxes. The building is illuminated by gas, manufactured on the premises, and heated by steam. The floor is of Georgia pine, as are the ceiling and wainscoting. These two are panted in good style in imitation cherry. The ceiling is heavily moulded and s very pretty. Large stained-glass window admit light to the interior. The seating capacity of the parquet is 1,000 and that of the gallery 400, but the building will easily hold 1,800 people. This room has to do service as a theatre for the borough, and is the largest hall I the town. Nanticoke may well feel proud of their armory and theatre, as it is one of the best and handsomest in the State. The second floor can also be turned into storage rooms. The cost of the structure is about $6,000. The brick work was done by Contractor John R. Davis. John W. Zimmerman superintended the carpenter work, while Frank Moharter superintended the painting. All did their work satisfactorily” (page 3).
Another scenery project, south Plymouth and Nanticoke, was contracted in Pottsville, Pennsylvania. Frank Ford was involved in the Academy of Music’s new drop curtain. The scene included local business cards; this was later known as an advertising curtain An article in the “Pottsville Republican” gave a little insight into Sosman & Landis, as well as their scenic art staff.
On June 10, 1887, the “Pottsville Republican” of Pottsville, Pennsylvania, reported, “A Splendid Curtain.” The splendid new act drop curtain recently ordered by the management of the Academy of Music was out in position yesterday afternoon by Frank Ford, the representative of Sosman & Landis, Chicago, and Manager Mortimer, of the Academy. It will be used between acts on next Monday evening, on the opening night of the Maggie Harold Company. The public will be given an opportunity to judge of the merits or demerits.
In the centre of the curtain is a view of the beautiful Bay of Naples, Italy, with stern old Mt. Vesuvius in the background and the city extending towards you along the shore of the bay. The quaint residence and the distinct castles on the hill area vividly pictured. Surrounding the central picture, the cards of many Pottsville business houses very artistically arranged and lettered strike the eye favorably. The drapery on the margin of the curtain is elegant in the extreme and Manager Mortimer may well be proud of the new addition, which, but the way, was a long felt want. The cost will be at least $300. The firm is one of the strongest in the country and has over twenty-five artists employed, the salaries of seven whom are $100 a week each. The celebrity with which the curtain was prepared is wonderful, the business cards not being senton until the 20th of last month” (page 1).
The next year, Ford worked in the east again, this time at an opera house in Olean, New York. On June 14, 1888, the “Olean Democrat” of Olean , New York, reported “Mr. M. W. Wagner of Bradford and Mr. Frank Ford, representing Sosman & Landis, scenic artists of Chicago, Ill., are in the city arranging for proposed improvements to the interior of the opera house. A new and handsome drop curtain will be put in soon, and other needed improvements will undoubtedly be made. The house is certainly in very bad condition and merits the attention of Messrs. Wagner and Reis intend giving it” (page 5).
By the 1890s, Ford relocated his family to Pennsylvania. On August 21, 1891, “The Plymouth Tribune” reported, “Among other visitors who spent Sunday in Nanticoke was Col. Frank Ford of Chicago, who went to Scranton on Monday” (page 8). He continued to work as a scenic artist, with his name briefly popping up in an 1895 sales advertisement, placed in Decatur, Illinois. From July 25-28, 1895, Ford posted the following in Decatur’s “Herald and Review”:
“FOR SALE – A good new drop curtain; fine scene, never been used. Will sell cheap. Call on or address Frank Ford. 532 East Condit street, Decatur, Ill. – 23-d6”
From 1896 until 1899, Ford primarily worked a scenic artist in the Pittsburgh area, although it remains unclear if his family was living with him at the time. By 1900, however, he was back in Chicago, working as a scenic artist and decorative painter. He remained in the Windy City until his passing in 1914. He died at the age of 52 years old on April 25, 1914. Two days later, he was buried at Saint Boniface Cemetery in Chicago.
Frank R. Ford was buried at St. Boniface Cemetery in Chicago, Illinois.
Ford’s obituary in the “Chicago Tribune” simply stated,
“Frank R. Ford, beloved husband of Catherine, nee Schmidt, father of Mrs. T. M. Brown, Florence, William F., and John Ford. Funeral Monday, April 27, at 9 a.m., from his late residence, 725 N. Hamlin-av., to Our Lady of Angels church, where high mass will be celebrated, autos to St. Boniface. Member of I Will council No. 1.573, K. and L. of S. [Knights and Ladies of Security Benefit Association].
His work as a painter was last remembered in his wife’s obituary eighty years ago. On Jan. 6, 1942, the “Chicago Tribune” reported, “Frank’s wife passed away. Her obituary announced, “Mrs. Catherine E. Ford, 79 years old, a life long resident of Chicago, died yesterday in St. Anne’s hospital. She was the widow of Frank R. Ford, a painter and decorator, and lived at 733 North Trumbull avenue, Surviving are a daughter, Mrs. Florence Hughes; two sons, William F. Ford and John C. Ford, six grandchildren and seven great-grandchildren. The funeral will be at 9:45 a.m. Thursday from the chapel at 5350 North avenue to Our Lady of Angels church.”
George H. Brown was a foreman carpenter at Sosman & Landis. He supervised construction at the studio and installed counterweight rigging systems on site.
His passing was recorded in the memoirs of Thomas G. Moses. In 1911, Moses wrote, “Mr. Brown, our foreman carpenter, died February 27th, very suddenly.”
On Feb 28, 1911, George H. Brown was listed in the obituary section of the “Chicago Tribune”:
“BROWN – George H. Brown. Feb 27, 1911, beloved husband of Mary Brown, father of Annie and George, at his residence 2901 Edgewood-av. Funeral notice later. Member of Harrison council No. 527, National Union and International Alliance Local No. 2 Stage Employee” (page 5).
Brown was born in New York, sometime during the month of October 1849. He was the son of Robert B. Brown (1820-1888) and Elizabeth Pague (1824-1900). George H. Brown grew to adulthood in Chicago during the 1860s. The Brown family had moved west by 1857, briefly staying in Wisconsin where George’s youngest brother, William, was born. By 1860, the Brown family was living in Chicago and George was twelve years old. The 1860 US Federal Census reported that the Brown household included: Robert B. Brown, 40 yrs. old (born in New York); Elizabeth Brown, 39 yrs. old (born in New York), Robert T. Brown, 14 years old (born in New York); George H. Brown, 12 years old (born in New York); Mary E. Brown, 9 years old (born in New York); and William Edwin Brown, 3 years old (born in Wisconsin).
George’s father initially worked as a bookbinder in Chicago. He continued this occupation until 1867 when he was listed a broom maker in the “Chicago Directory,” living at 350 W. Indiana in the rear portion of the building. At some point between 1864 and 1867, Brown went blind and left the bookbinding industry. George would have been between fifteen and eight years old when his father went blind. There is a great likelihood that George began as an apprentice somewhere or simply moved out to reduce the overall household expenses, sending money home to his family.
His father continued to work as broom maker until his passing in 1888. However, by 1869 he also began reseating chairs. On July 1, 1869, the ”Chicago Evening Post” reported, “Robert B. Brown, a blind man, residing at 553 Fulton street, supports his family by reseating chairs, and will be grateful for any work of this kind that may be sent to him, or he will send after and return chairs to ant part of the city” (page 4). The Brown family continued to reside at 553 Fulton for the next two decades, until after Robert’s passing.
The two oldest Brown boys, George and Robert, moved out of the family home by 1870. The census that year listed Robert and Elizabeth as living with Mary and William, now ages nineteen and thirteen. By 1880, there were still two children at home, but this time it was William Brown and Robert T. Brown. Various members of the Brown family continued to live at 553 Fulton until shortly after Robert’s passing. Robert B. passed away on Sept. 12, 1888, but his widow Elizabeth was still listed as living at 553 Fulton in the 1889 “Chicago Directory.”
George has been almost impossible to track due to his name. There are simply too many George Brown’s working as carpenters across the country at this time in the mid- to late-nineteenth century. The title “stage carpenter” was also not commonly used in city directories or census reports, reducing the accuracy of any search. There are even TWO George H. Browns listed as “foreman” in the Chicago City Directory in the 1880s and 1890s, with no indication of the industry that they worked in at the time. To date, I have only located two records pertaining to a “stage carpenter” Brown, the likely candidate for Sosman & Landis’ foreman carpenter.
The US Federal Census 1900 listed a stage carpenter named George Brown living in Chicago at 619 Humbolt Street. He was fifty years old, married and living with his two children. The report listed that George and Mollie Brown were married in 1889. Extraneous information pertaining to their children, Anna and George Jr., provide a little more information about the Brown’s life after George leaving his parents’ home.
George’s wife Mollie was born in Missouri, sometime during November 1867. Their first child, Anna, was also born in Missouri, sometime during October 1885. This suggests that George worked in Missouri during the 1880s, met Mollie and married her and started a family there. However, I have yet to locate any marriage records for the couple that states a particular county in the state. My best guess is Kansas City, especially since two Sosman & Landis stage carpenters, Claude Hagan and Joe Wikoff, worked in in Kansas City at this time. For context, Sosman & Landis established a regional branch in Kansas City during the mid 1880s.
George’s youngest child, George H. Brown, Jr., was born in Chicago in April 1895, suggesting a return north prior to this time. I suspect that he was employed as a stage carpenter at Sosman & Landis, but have yet to locate a definitive connection. In between Missouri and Illinois, I think he worked in New York.
After completing what felt like thousands of online searches, delving deep into newspaper article, census reports, city directories and other public records, I was only able to locate one bit of information that may have indicated Brown’s whereabouts in 1892. Stage Carpenter Brown was present when the Metropolitan Opera House in New York was destroyed by fire. I am going to include the article in its entirety. This provides a possible motive for George Brown’s return to Chicago at this time.
On September 1, 1892, the “Carlisle Weekly Herald” reported the following news from New York (Carlisle, Pennsylvania, page 4):
“WORK OF THE FLAMES.
The Metropolitan Opera House of New York Destroyed. A Boy and Girl Burned to Death.
The Most Beautiful Place of Amusement in America Burned in an Hour – A Paper Box Factory in Flames – The Augusta Chronicle Office Also Destroyed.
“New York, Aug. 29. – The magnificent Metropolitan Opera House, burned by Braodway, Seventh avenue, Thirty-ninth and Fortieth streets, one of the finest and most expensive of modern play-houses, with an auditorium of greater idmensions than any other in the world, a structure believed to be absolutely fire-proof, lies in ruins, Fire gutted it with a loss of $400,000.
About 9:30 o’clock in the forenoon Stage Carpenter Brown, his assistant, Engineer Scatterwood and Cornelius Horan, a boy, the only persons in the immense opera house, were startled at beholding a fierce mass of flames burst suddenly forth through the giant stage and spread with marvelous rapidity. The flooring laid over the orchestra at the time of the Christian Endeavor convention in July last for the chairs for the delegates, had not yet been removed, and this once ignited carried the flames quickly to the main entrance. The engineer turned the crank to the large water tank above the stage, and let its hundreds of gallons of water crash down upon the flames, but the water produced no visible effect. There were twenty-five lines of hose in the building, and the stage carpenter turned one of these in the flames, but in a moment was obliged to fly for his life.
Nothing But the Walls Standing.
When the steamers responded the entire interior was a fiery furnace. Within half an hour the roof had been burned through and the flames and smoke shot up in the air. This rent, however, and an east wind, sweeping the flames back toward Seventh avenue, assisted the firemen in saving the Broadway front, in which are located the Bank of New Amsetrdam and Zancheri & Gazzo’s restaurant, surmounted by six upper stories occupied as apartments. The stage and everything from the proscenium arch to the 127-foot-high rear wall on Seventh street has been entirely swept away, leaving only bare brick walls standing. In the auditorium the five tiers that rise above the orchestra still remain, but all the trappings of the boxes, the upholsterings of the chairs, the frescoes of the walls and dome have vanished. In the boxes and the tiers above the iron frames of the chairs alone remain. The flames burned fiercely here, but they did not make their way through the roof and still remain at. This point. Further than the entrance doors to the auditorium the flames did not succeed in making their way.
A Boy Meets His Death.
The boy Horan who was employed by Albert Operti, the scenic artist, was hemmed in by the flames on the third floor. Groping his way to one of the windows overlooking Thirty-ninth street he leaped down to a storm door shed on the ground floor. He was so badly burned that he died at the Bellevue hospital shortly after. When Operti arrived, distracted, he saw vanishing in smoke all the works of art which he had been painting for use at the Columbian celebration to occur in this city in October, and new scenery for Daly’s and Casino and the Academy of Music, all of which will be a total loss.
The estimated loss on the Opera House fixtures is $250,000. The damage to the building is $150,000. The loss is covered by insurance and Secretary H. M. McLaren declares that a meeting of the stockholders will be immediately called and the work of refitting the Opera House be begun as soon as the water will permit. The interior of the theatre had been overhauled and thoroughly fitted for the opening of the season. Abbey, Schoefle & Grau had leased the Opera House for the season.”
Now, if this is the same stage carpenter Brown as the one who worked at Sosman & Landis, it places him back in Chicago at the perfect time to be employed at Sosman & Landis when Masonic scenery and stage machinery production begins to dramatically increase. It is also about the same time that the firm’s head stage carpenter, Charles S. King, passed away in 1894. In the past, I have tried to track down the development of a rigging system known as “Brown’s Special System.” Brown’s Special System was installed by Sosman & Landis as dozens of Scottish Rite theaters, beginning about 1902. Here is a past post from 2018 about the system: https://drypigment.net2018/08/10/tales-from-a-scenic-artist-and-scholar-part-475-browns-special-counterweighted-system/’
I suspect that George H. Brown was associated with the design and became the primary installer of the system. Brown’s Special Counterweighted System allowed more drops to be crammed into a limited amount of space on stage, resulting in the increased sale of scenery and stage machinery.
Marketed by M. C. Lilley, Sosman & Landis was subcontracted to manufacture and install rigging systems in dozens of Masonic theaters across the country during the first two decades of the twentieth century. Extant examples include Scottish Rite theaters in: Portland, Oregon (1902); Little Rock, Arkansas (1902, now in Pasadena, California); McAlester, Oklahoma (1908, now in Salina Kansas) Wichita, Kansas (1908); Santa Fe, New Mexico (1912) Tucson, Arizona (1914); and Grand Forks, North Dakota (1915), just to name a few.
The key figure in the marketing of this system was also a man named Brown – Bestor G. Brown, M. C. Lilley’s western sales representative in Kansas City, Missouri. He formed an alliance with the fellow Scottish Rite Mason, Joseph S. Sosman, a founder of Sosman & Landis in Chicago. For Masonic theater projects, Sosman & Landis provided all of the design, manufacture and installation of both painted scenery and stage machinery. Their rigging system was designed to be operated by a non-professional stage crew; a variety of Masonic members who came from various backgrounds, most without any prior backstage experience. For context, Scottish Rite members, and not professional stage hands, ran all backstage activities and scenic effects during Scottish Rite productions at Scottish Rite Reunions twice a year. The Scottish Rite productions served an educational purpose, like morality plays.
I first came across the designation, “Brown’s Special System,” in a series of letters between Bestor G. Brown, and the Austin Scottish Rite. In the correspondence, Brown explained that there was only one stage carpenter who superintended the installation at Scottish Rite theaters.
Example of arbors in Brown’s Special System. Santa Fe New Mexico Scottish Rite theater.Brown’s Special System originally delivered to Little Rock, Arkansas, in 1902. Now at the Scottish Rite in Pasadena, California.
Salesman Brown, however, was mistaken given credit as the namesake of the design. Over the years newspapers would erroneously refer to Bestor G. Brown as a “Masonic stage Carpenter.” An article from 1903 even credited Brown as the individual who “created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States.” This mistake is understandable if the studio designer and salesman share the same last name.
Bestor G. Brown, M. C. Lilley Western Sales Representative who sold Brown’s Special System.
By the time, George H. Brown arrived at Sosman & Landis, there were at least two other stage carpenters responsible for installing scenery and machinery across the country. W. H. Clifton superintended installations at opera houses, theaters and Elks auditoriums. The first mention of Clifton working for the company is 1889, and he continues into the first decade of the twentieth century. Newspaper articles report that Clifton was sent to superintend the work, requiring him to spend time on site – often about four weeks. His duties on site included fitting the stage carpets and conducting a final run through of all items with the client.
Charles S. King (1839-1894) was another individual in charge of installing scenery and stage machinery for Sosman & Landis. King began his career in 1859, and by 1887 had installed 200 stage systems. In 1889, he was credited as working at Sosman & Landis for fifteen years; this makes him one of the firm’s earliest employees.
David A. Strong (1830-1911) was a scenic artist and stage mechanic who specialized in Masonic work. Thomas G. Moses even credited him as the “Daddy of Masonic Design” in his memoirs. We know that Strong was a member of the Theatrical Mechanics association and the in same Theatrical Mechanics Association Chicago Lodge No. 4 as John Bairstow, who worked on the stage house for the Chicago Auditorium. However, as Strong grew older he was limited to studio work, and this is why I think that Brown was brought on board. In the end, both Strong and Brown passed away the same month; Strong died February 11 and Brown died Feb. 27.
George Brown was actively employed as a stage carpenter at the time of his passing in 1911. The 1910 US Federal Census report listed his occupation as “carpenter” in the “theatre” industry. That year he was living with his wife Mollie and their two children at a home on Edgarwood Avenue. At the time of his passing in 1911, George was sixty-two years old. His children, Anna and George Jr., were ages twenty-six years old and sixteen years old, respectively.
George H. Brown’s gravestone at Forest Home Cemetery in Forest Park, Illinois.
Brown was buried at Forest Home Cemetery in Forest Park, Cook County, Illinois. His gravestone says 1856-1911, but his death certificate on file listed Brown’s birth as Oct. 28, 1855. This contradicts other historic records.
A decade later, George Brown Jr. is listed as a stagehand in the 1920 US Federal Census, still living with his mother, but now at 1549 Central Park Avenue in Chicago.
Edgar Alwin Payne (1882-1947) worked as a scenic artist at Sosman & Landis in Chicago, the firm’s eastern affiliate in New York (New York Studios), and the firm’s western affiliate in Los Angeles (Edwin Flagg’s studio). Payne was also a well-known landscape artist and California impressionist. His artwork is still popular and quite expensive to acquire. In 2017 his oil painting, “Navajo Scouting Party” sold for $304,200. Prices for his easel art, however, will never reflect his scenic contribution to theatre history.
Edgar A. Payne in 1925.
Payne’s life story has been well documented over the decades, especially by his wife, Elsie Palmer Payne, and his daughter, Dr. Evelyn Payne Hatcher. My two favorite books about Payne are “Composition of Outdoor Painting” (1941) and “The Paynes, Edgar and Elsie: American Artists” (1988). The first was written by the artist himself and presents an approach to art, looking at drawing, color selection, and compositional layout. The second book was penned by a friend of his daughter’s, Rena Neumann Coen in 1988. “The Paynes” was published at Payne Studios, Inc. in Minneapolis, Minnesota, and delves into familial tales and artistic accomplishments, with a very a brief glimpse into Payne’s early life as a scenic artist in Texas and Chicago. Much of the information is based on interviews with Elsie Payne in 1970 and unpublished notes. These two publications provide a pretty comprehensive look at the life and career of Edgar Payne, yet so many details pertaining to his theater work are left out.
My two favorite books about Edgar A. Payne.
While doing research for this post, I continued to come across the statement that Payne was “largely self-taught.” Even the first chapter of “The Paynes,” reinforces this theory. Coen discusses the stylistic differences between Edgar’s and Elsie’s artwork, writing, “This difference prevailed even when the Payne’s travelled to Europe, where Edgar concentrated on the snowy peaks of the Alps or the colorful fishing boats in the harbors of Italy and France, while Elsie directed her attention to the human element in the Old World towns For unlike Edgar who came from the central states and was largely self-taught, Elsie grew up and went to school in the San Francisco Bay area where, though there were Impressionist painters there too, the decorative, linear style of Arthur and Lucia Mathews was more pervasive” (page 1).
I have noticed that some artists are quick to state they were “self-taught,” regardless of the fact that there are no definitive criteria to define “taught” or “self-taught.” I have often wondered about qualifications to identify a “self-taught” individual. Is an artist considered self-taught even if they have had one art class? Does artistic training have to come from a specific educational institution, or instructor? Is there an age-limit for the completion of the artistic training? Do trade apprenticeships qualify as a form of art instruction? In other words, if you assist a more experienced individual, actively assist in the artistic process, participate and then strike out on your own, can you still be considered “self-taught”? In my opinion, unless you live in bubble, have only worked by yourself, and never learned a single thing from any other artist, you have received some form of artistic training and are not self-taught.
Scenic artists, especially those who worked at a professional scenic studio during the turn of the twentieth-century, cannot lay claim to the term “self-taught.” Nineteenth-century and early-twentieth century scenic studios functioned as ateliers, training young artists in compositional layout, color selection, paint mixing, and a myriad of other artistic skills. If they did not follow the accepted artistic techniques associated with romantic realism for the stage, or if they deviated from the desired design, these artists were quickly unemployed.
In a personal interview between Randy Givercer Frank and Hanny in Chicago, Illinois on May 31, 1976, the following statement was made about Sosman & Landis:
“Sosman and Landis was the greatest school on earth…Everyone who was into Sosman and Landis profited by it afterwards because they had learned how to do things there. They were young fellers when they went in and they were getting the benefit of the experience of the older fellers. They saw some good work…It was training. The training has come in wonderful for me.”
Interestingly, Coen even mentions this scenic art training by page four in her book, She wrote, “The stint as a scene painter was an experience that Edgar shared with many other contemporary American artists who often found their first professional employment in this aspect of the craft. In Edgar’s case it undoubtedly taught him the broad brushwork and rapid technique that he later used, in a more sophisticated manner, in his landscape paintings” (page 4). There is a lot to unpack here, but in short, I take issue with the idea that his time as a scenic artist was a “stint.” He worked as a scenic artist for well-over a decade.
Payne was working as a professional scenic artist at Sosman & Landis by 1903, shortly before John Hanny began as a paint boy. Payne was still working as a scenic artist in the Chicago studio in 1914 when he joined the Brotherhood of Sign, Scene, and Pictorial Painters. He even made headlines just before joining.
On May 5, 1914, the “Chicago Tribune” reported, “ARTIST HAS TO JOIN UNION TO PAINT THEATER CURTAIN.” Under the article headline read, “Edgar Payne Starts Work, but Strike Results, and Compromise Solves the Problem. There is a difference between an artist and a scene painter. This Edgar Payne, of 4 East Ohio street, learned yesterday when he started on a big western picture for the drop curtain of the new American theater at Ashland avenue and Madison street. No sooner had the landscape artist titled his canvas and dipped his brush in a jar of blue paint than there was trouble. All the sign, scene, and pictorial painters of local 830 in the building laid down their tools and walked out. W. G. Lathrop, business agent for the union asserted the men would not work so long as a landscape artist remained. Moreover, not one man in the union would hang the curtain after it was decorated with the western mountains from the brush of a nonunion painter – Payne. “I am an artist, I am a landscape painter and mural painter, not a decorator – “ Mr. Payne trained to explain. But he had to join the union or lose the job. He joined the union and went on with the picture.”
In addition to the drop curtain, Edgar also designed the murals for the American Theatre depicting the history of France and Spain in the new world. Although the theater no longer exists, four of his preliminary designs still survive.
Image of mural design for American Theatre in Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”Image of mural design for American Theatre in Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”
Here is a little back story that provides context for Payne’s work for the Chicago-based scenic studio.
Edgar Alwin Payne (1882-1947) was the son of John Hill Payne and Nancy Ellen Reed. Although all of his grandparents came from Virginia, his father was born in Mississippi and his mother was born in Kentucky. The couple met and was married in Washington County, Arkansas, on January 22, 1880, but established their first home in Missouri. They celebrated the birth of five children, with Edgar being the eldest son, born in Missouri’s Cassville County. Possibly near the current city of Washburn, an area is in the southwestern part of Missouri, near the Arkansas border.
When Edgar was eleven years old, the Payne family moved south from Missouri to Prairie Grove, Arkansas; a sixty-miles trip. The 1900 Census verifies that they were living in Prairie Grove that year and the Payne Household consisted of John Payne (50 yrs.), Nancy E. (41 yrs.), Fleda (19), Edgar (17 yrs.), Nora (15 yrs.), Robert T. (12 yrs.) George W. (9 yrs.) and John B. (2 yrs.) John Sr. was listed as a carpenter, with his son Edgar listed as a carpenter apprentice.
The Payne’s incentive to move south was that his mother had inherited a small parcel of property. Familial tales suggest that it was in Arkansas where Payne’s began early experimentations in art began; playing with his mother’s bluing, white lead house paint, and red coloring made out of pokeberry juice were his early art supplies. As with many other ambitious boys growing up on a farm and longing for the adventure of city life, he made several attempts to run away. Like other, including Thomas G. Moses, hauled home and reprimanded.
The Payne’s soon moved south again, this time to Lovelady, Texas. To help place this small town within the massive geographical scope of Texas, Lovelady is located 14 miles due south of Crockett, Texas, and 100 miles north of Houston. Founded in 1872, the town was named after Cyrus Lovelady who granted land access to the Houston & Great Northern Railroad for their railway line. I have yet to locate any records that substantiate the Payne’s time or activities there. Coen’s book indicates that Payne began his scenic art career in Loveland. Purportedly, Payne delivered stock scenery for stage at the Lovelady Town Hall in 1902 at the age of twenty-four. With his background as a carpenter, my guess is that he both built and painted the scenery at this time. However, I have yet to locate any other information or images pertaining to Payne’s work for Loveland’s town hall stage.
Also, around this time, Coen notes that Payne delivered a few scenic pieces for the high school in Conroe, Texas. First of all, there wasn’t a high school at the time, just the Conroe Public School. An image of the school in 1900 shows a building that could have easily included some type of theatrical stage.
The schoolhouse in Conroe, Texas.Edgar A. Payne delivered scenery to the building in approximately 1902.
Conroe is located a little more than halfway between Loveland and Houston, approximately forty miles due north of Houston. The two theatre projects in 1902 appear to be his first scenic art projects, especially considering his age.
This is where the timeline presented by Coen on Payne’s youth-to-young-adult journey gets pretty sketchy. She writes, “At some time during this period [c. 1902], Edgar left home again, this time for good. He tramped through the countryside painting fences and barns, teaching himself how to letter, and occasionally getting a job painting signs. For a time, he also travelled with a barnstorming theatrical troupe, painting and rigging up scenery, sometimes stepping into the act, and generally doing anything needed as a handyman or roustabout.”
Working as an itinerant artist in his mid-twenties is not unusual, but I cannot verify any of Payne’s activities in Texas at this time.
By 1903, Payne relocated to Chicago at the age of twenty-five. There are a few things to consider about Payne’s brief move to Chicago and his working for Sosman & Landis. In 1903 Payne was twenty-five years old; not young enough to start as a paint boy at the firm, but old enough to be added as a full scenic artist. This mean that he started at the studio with his own palette, first painting at the firm between 1903 and 1904.
Sometime between 1905 and 1906, Payne purportedly returned to Texas and settled in the Houston area with his siblings. He was not listed in the “Houston City Directory” for either year, yet his siblings Robert, Fleda and Nora were rooming at 306 McKinney Ave during this period. Like most young scenic artists, he may have accepted any project that came his way, whether it was decorative work for residences or house-painting. That meant home-basing out of his sibling’s Houston residence. In her book, Coen also credited Payne with establishing the Payne-Morris Studio at 142 Pearl Street in Dallas, Texas, but gave very little information or exact year for the firm. We do not even know the first name of his partner. The studio must have been short-lived, however, as there was no listing in a city directory, nor was there a listing for Payne at all. The only proof of its existence is an image of the two men in front of a “Payne Morris Studios” sign. That being said, there were only two likely individuals working as painters with the last name of Morris in Dallas: Charles C. Morris and Octavius J. Morris. Between briefly formed the studio of Morris & Co. from 1907 to 1908. Living at 305 Peabody Street, Charles worked as the traveling salesman; Payne was not even listed in the directory during this time.
Image of Payne-Morris Studios in Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”Detail of Edgar A, Payne (front) and his partner Morris. Date Unknown. Image from Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”
By 1907, returned to Chicago and briefly studied at the Chicago Institute of Art, only lasting two weeks according to Coen. My guess is that Payne’s focus was on making a living, and continued to work as a scenic artist. He remained in the Midwest, yet began traveling west for sketching trips.
In 1909 he ventured to California for the first time, painting in Laguna Beach and in San Francisco. It was in California that he met his future wife, commercial artist Elsie Palmer (1884-1971) in 1910. The meeting and courtship are fascinating, described in detail by Coen in her book. Although Payne spent an increasing amount of time in California, the 1910 US Federal Census still listed Payne’s permanent address as Chicago, living at 3 East Ontario with C. B. Hartman and W. C. Wilbrandt. All three men were working as artists, listing their respective employers as “own studio.”
By 1911, Payne worked for Edwin Hardin Flagg (1878-1927) in Los Angeles, a western affiliate to Sosman & Landis. That year, Payne sent a postcard to Thomas G. Moses, humorously illustrating his work at Flagg’s studio. Moses became the company’s second president in 1915 after Joseph S. Sosman passed away. Moses had close ties with Edwin H. Flagg By 1913, the Edwin H. Flagg scenic company was one of the best-known scenic studios in the country, installing over $100,000 worth of theater scenery a year and employing a workforce of 30 artists. Flagg worked as a designer, scenic artist, theatre producer, and movie producer, running two studios by 1921; one in Los Angeles and the other in San Francisco. In 1921 the firm advertised that “90% of all stage equipment on the coast was provided by their studio” (“Los Angeles Post-Record,” 10 August 1921, page 16). Flagg’s studio was marketed as the largest scenic studio west of Chicago.
Postcard from Edgar A, Payne to Thomas G. Moses in 1911. Image from Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”Coen cites, “Courtesy of Mrs. John R. Rothgeb.”From Los Angeles Evening Post March 12, 1919.From Los Angeles Evening-Express, Feb 19, 1921.
In 1911, Elsie was offered a job in Chicago, prompting her to relocate to the Midwest. The two were married on Nov. 8, 1912. In Coen’s book “The Paynes,” Elsie described the postponement of their marriage due to a scenic art project. They rescheduled the ceremony from Sunday morning to Sunday evening. Edgar was in the midst of painting a backdrop for Mandel’s Department Store. Elsie remembered, “We went to work the next morning, Sunday, all alone in that big department store and both painted on the backdrop…in the afternoon O found a nice comfortable bed on display so I took a nap while poor Edgar toiled steadily on. I felt like a heel but just could not keep awake.”
Photograph of Edgar and Elsie Payne in 1913, from Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”
Payne continued to work as a scenic artist in Chicago, despite repeated sketching trips for his easel art. While away on his trips, Payne continued to send postcards to Thomas G. Moses. On December 27, 1914, Payne sent Moses a postcard with “Holiday Greetings” written on the back, The postcard depicted one of Payne’s paintings. The inscription on the back noted “By Edgar Payne, Palette and Chisel Club, Chicago. A reproduction of one of eight paintings presented to the Henry O. Shepard School, Filmore and Mozart streets, Chicago. Engraved by Wells & Co., Chicago. Printed by the Henry O. Shephard Company, Chicago.”
Front of postcard sent from Edgar A. Payne to Thomas G. Moses in 1914. Harry Ransom Center, with the Dr. John Rothgeb papers.Back of postcard sent from Edgar A. Payne to Thomas G. Moses in 1914. Harry Ransom Center, with the Dr. John Rothgeb papers.
In 1922, Moses reminisced in his memoirs about the talented individuals who passed through the studios doors, writing, “Edgar Payne, now in France, was with us only a few years ago… As I look backward over the names of the successful ones, I wonder what I would have done had I been gifted with the same amount of talent.”
The rest of the Payne’s story primarily concerns his easel art and rise to fame in the fine artworld. This tale is well documented and presented in dozens of art history books, so I will stop here.
