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.
Albert B. Mason was another Sosman & Landis scenic artist who worked at the studio for approximately eight years, from 1887 to 1895. Mason was added to the studio staff shortly after the main studio was constructed in 1886.
Walking home from the studio on February 9, 1895, Mason was assaulted and robbed. During the attack, Mason’s skull was fractured, and he died shortly thereafter from an arterial hemorrhage. In regard to his location, the Sosman & Landis studio was located at 236 South Clinton Street and Mason lived only a short distance away at 130 West Van Buren street. The area was well known as a rough neighborhood.
At the time of his passing, Mason was working on a drop curtain for the newly constructed Auditorium Theatre in Newark, Ohio.
The Auditorium in Newark, Ohio, was constructed between 1894 and 1895.
On February 17, 1895, the “Newark Daily Advocate” published included an article entitled, “The Artist Who Painted the Auditorium’s Drop Curtain, Murdered in Chicago” (“Newark Daily Advocate,” 17 Feb 1895, page 1).
Here is the article in its entirety:
“The drop curtain for the Memorial auditorium arrived from Chicago yesterday. The delay in sending the curtain was due to an unfortunate occurrence in Chicago a few days ago. Albert B. Mason, one of the best artists in the employ of Sosman & Landis, was engaged in painting the curtain and on his return home from work he was attacked by footpads [nineteenth-century term for robber or thief], receiving injuries from which he died. Another skillful artist was secured, and the curtain finished as soon as possible. Concerning the murder of Mr. Mason a Chicago paper says: Albert B. Mason, scenic artist, lies dead at his home, the result of wounds received in a fight with two thugs who assaulted and tried to rob him. On the way home when crossing the alley between Jefferson and Desplaines streets he was jumped on by thieves and knocked down. The blows and fall dazed him for a moment, but he quickly regained his feet and made for the two men to fight them off. But they followed up their attack, one on either side, hitting him in the face and neck. He was a big, strong man and his assailants were also of large build as well as desperate characters. He made a brave fight, but they were getting the better of him. As quickly as he could Mr. Mason drew his revolver. As shots were heard it is supposed he commenced firing, thinking this would cause the villains to run away. Instead, however, they wrested the weapon from him, and while one held his arms the other pounded him over the head with it until he fell unconscious to the ground; then they took his watch and ran. Two policemen captured them a few moments later. With the assistance of those who came to his rescue, Mr. Mason, stunned and bleeding, managed to get home and send a doctor. It was found that he had been wounded on the top of his head, from the effects of which he died at 1 o’clock yesterday morning. It is said to be a clear case of murder and the murderers are held at Desplaines Street Station. The police know them as O’Brien and Lyons, two of he toughest of the many tough footpads that infest the South Clinton, Desplaines, and Halsted street districts. They were arrested by Patrolmen Hickey and Hoffman, of the Desplaines Station force shortly after their attempt to hold up Mr. Mason. The latter appeared at the station and identified his assailants. Albert A. Mason has been painting theatrical scenery for the firm Sosman & Landis, No. 236 South Clinton street, seven of eight years and was one of their best artists.”
Harry Lyons, alias “Butch” Lyons and Cornelius O’Brien were apprehended after the attack and held without bail. In March of that year the Grand Jury indicted both on a charge of murder. Lyons was given a death sentence, and O’Brien received a sentence of twenty years in prison. Lyons was hanged at the County jail that fall. An article on October 12, 1895, in the “Chicago Tribune,” described all of the grizzly details of the murder, court case, and execution (page 14).
I have located very information about this relatively unknown Sosman & Landis artist.
Mason was born in Michigan in 1858. He was the son of Canadian-born Stephen Mason (1811-?) and Laura Green Mason (1823-1907). His mother’s family hailed from Pennsylvania. His siblings were Mary D. Mason Harrington (1838-1918), Harry Mason (1838-918), Stephen Mason (1840-1873), Bertha Sarah Mason Homser (1851-1927), George Mason (1853-1944), Harriet Mason (1856-?), James Mason (1861-?), Emma Elenore Mason Fox (1864-1950) and Eunice Mason (1864-1878).
By 1860, 2-yrs.-old Albert Mason was living with his mother and three siblings in Blissfield, Lenawee County, Michigan. The Mason household included Laura (37 yrs. old), Elizabeth (14 yrs. old), Sarah (9 yrs. old), George (7 yrs. old) and Albert (2 yrs. old). All three of Albert’s siblings were born in Ohio, whereas Albert was born in Michigan. His mother was working as a weaver, listing her birthplace as Pennsylvania.
Ten years later, the Mason family was still living in Blissfield. The 1870 US Federal Census did not list Albert’s father as part of the household, only his mother (46 yrs.) and siblings, George (17 yrs.), James (9 yrs.) and Emily (5 yrs.). George and Albert were listed as working in a “stage factory.”.
By the age of twenty-one, Mason was living in Toledo, Ohio. The 1879 City Directory listed him as a painter and boarding with his mother. His brother James Mason was also listed as a painter, living in the same household. Their mother was also in the directory and listed as the widow of Stephen Mason, residing at “s s Germania 3 e of Heston.” In 1879, Mason married Ellen O’Neil in Monroe, Michigan.
By 1880, 22-yrs.-old Mason was living with his wife “Ella” in Defiance. The couple lived on Harrison St. with Mason’s younger sister, Emma. It remains unclear when or why Mason moved to Chicago, but he began working for Sosman & Landis between 1887 and 1888.
His death was reported in “The Evening News” of Defiance, Ohio (page 8): “Albert B. Mason, a respected citizen assaulted by two thugs. He is shot twice in head-Notorious Butch Lyons and Con O’Brien are remanded to jail.
(Chicago Mail, Feb. 13, 1895)
“Albert B. Mason, one of our oldest and most valued employes lies dead at his home at 130 West Van Buren street, form the effects of an assault by two thugs who robbed, beat and shot him last Saturday evening on Van Buren Street, near Jefferson. So wrote Sosman & Landis, whose scene painting studio is 236 and 238 South Clinton street, to the Mail this morning. At the very moment that the letter was being written, Harry Lyons, alias ‘Butch’ Lyons, and John O’Brien, alias Con O’Brien, were being remanded back to jail at the Desplaines street police court without bail to await the action of the coroner’s jury tomorrow morning, when it views the dead body of Albert B. Mason. The latter died at 11 o’clock this morning from the effects of an assault which Butch Lyons and Conb O’Brien are being charged with having made upon the defenseless man.
Happened four days ago.
Mason was held up and robbed Saturday night at 9:30 on Van Buren by Lyons and O’Brien, who stepped out of an alley between Jefferson and Desplaines streets as he was passing and assaulted him.
Mason drew a revolver and Lyons is said to have wrenched it from his hands and fired two shots. One of the bullets grazed his forehead. Mason was also struck on the head with the butt of the pistol. As Lyons and O’Brien started away they ran into officers Hickey and Hoffman, of the Desplaines street station, who had been attracted by the shots. The pair were locked up at the station and Mason was taken home.
Mason appeared in court Monday morning with his head bandaged. He identified Lyons and O’Brien as the robbers. They were placed under bonds in the sum of $4,400. This morning as the men were arraigned again, Capt. Gibbons brought in word that Mason was dead. The wound had not been considered serious until morning when a blood vessel burst in his head, due, it was reported, to the injuries, and the doctor stated that he could not live.
At the coroner’s inquest the jury brought the verdict of willful murder against Lyons and O’Brien and remanded them back to jail without bail awaiting the action of the grand jury.”
Albert’s mother died on March 19, 1907, and was buried in Lambertville Cemetery, Lambertville, Monroe County, Michigan. Sadly, the cemetery records were destroyed in a fire. It is possible that Albert was also buried in Lambertville Cemetery.
J. C. Blaine is part of the prequel to the history of Sosman & Landis. He worked as a scenic artist and stage carpenter for J. S. Sosman, and was later associated with the firm in the 1890s. I posted new information to my blog on June 4, 2023; the link is below. Here is what I originally wrote in June 2021:
“I first came across Blaine’s name in an article about Sosman in 1875. The two delivered scenery to Semon’s Opera House that year. Afterwards, they painted a billboard featuring local businesses. Their work was published in the “Fairfield Ledger” on October 28, 1875:
“Very Pretty.- We mean that bulletin board painted by Messrs. Sosman & Blain, the artists who painted the scenery for the new Opera House. The bulletin board is about 10×20 feet in size, and contains the cards of a number of enterprising business men. It will be put up on the southeast corner of the Park, and will prove a handsome and attractive advertisement. The work is a credit to Messrs. Sosman & Blain.”
From the Fairfield Ledger, Oct. 28, 1875.
A few weeks later their work was again mentioned in an article entitled “Business Chart.” On November 4, 1875, the “Fairfield Ledger” reported, “The most beautiful and attractive business chart ever seen in Fairfield is the one now on the north side of the P. O. building. In size it is 18×16 feet, and contains the business cards of about twenty of Fairfield’s business men. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blaine, who so handsomely painted the scenery in Semon’s Opera House.”
I want to take a moment to examine Semon’s Opera House, as it is representative of so many stages at that time. The new theater was described in detail on October 7, 1875, in the “Fairfield Ledger” (page 6). The article reported:
“The stage is 44×20 in size, ample space being given for dressing rooms. There are two entrances to the stage from the audience and one by the outside stairway. It is circular in front, and the footlights, of which there are about 15, give plenty of light. The scenery was painted by Mr. J. S. Sosman of McComb [sic.], Ills., and bears evidence of the work of a master painter, and a man skilled in his profession. It consists of a magnificent drop curtain, representing the Bay of Naples. At the right and in the foreground of the scene is a ruined arch covered with ivy, the whole being surrounded by a beautiful Etruscan border sixteen inches wide. The parlor scene is a representation of gorgeous panel work, and the flat is supplied with practical doors on either side which are beautiful columns with handsome arches extending above the doors and resting upon the pilasters. The street scene presents a brick residence and a garden in the foreground, while in the distance appear business houses, churches, residences, &c. In the wood scene is a heavy wood, with a beautiful lake in the perspective. The kitchen shows us a dilapidated room with rough plastering and a number of holes in the walls which have a natural appearance, and various articles of household use. At the sides of the drop curtains is more panel work, the entire curtain being surmounted with rich crimson and garnet drapery, giving a perfect finish. The drawing is on canvas fastened on the flats which are 10×16, sliding in grooves, and the wings are 4×10 in size. The painting is a great credit to the artist, and all pronounce Mr. Sosman a painter of ability.” I am going to pause here for comment; this is almost identical to what was initially used at the Tabor Opera House in Leadville, Colorado. It is even the exact same size of wings and shutters.
Between 1875 and 1876, Sosman met and partnered with Perry Landis, future co-founder of Sosman & Landis Scene Painting Studio. Both had served in the Union Army and then ventured west during the post-war years, with Sosman settling in Macomb, Illinois, and Landis settling in Fairfield, Iowa. Neither was immediately drawn to the theater, with each testing the waters of another profession. Sosman’s scenic art career did not even commence until 1873. He came to it quite late in his career, when he assisted T. B. Harrison, a Chicago-based scenic artist who was hired to paint scenery for the New Chandler’s Opera House in Macomb, Illinois. At the time, Sosman was twenty-eight years old. The majority of scenic artists began their apprenticeships at the age of sixteen.
Their probable meeting was in Fairfield, Iowa, when Sosman was painting the scenery for Semon’s Opera House, During this time, Landis returned to Fairfield after another extended stay in Denver, Colorado. On August 19, 1875, the “Fairfield Ledger” announced, “Perry Landis is with us again – and from Colorado” (page 5). By 1876. Sosman & Landis were traveling together, while making their permanent home in Fairfield. On June 11, 1876, the “Fairfield Ledger” announced, “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3). The two were remembered by Fairfield residents them long after they moved the Chicago in 1879.
Landis had previously lived in Fairfield before venturing further west to Colorado. On March 18, 1875, the “Fairfield Ledger” reported, “Perry Landis has been spending a few days with his many friends in Fairfield…Davey Beck leaves for Denver to-day in company with Perry Landis. He goes to remain some time” (page 5). Even after settling in Denver, Landis continued to update his friends and family about the western scenery and opportunities. He submitted articles to the “Fairfield Ledger,” occasionally working as a newspaper correspondent for various cities.
Meanwhile, Sosman worked as an itinerant scenic artist and began making a name for himself throughout the region. Years later, the town remembered their beginnings in Fairfield. On June 20, 1894, the “Fairfield Ledger” recalled the pair living in town, reporting, “Sosman & Landis, the scenic artist, both of whom formerly resided in this city, are the lessees and managers of the Masonic Temple Observatory and Roof Garden, Chicago. This twenty-one-story building is one of the wonders of the metropolis of the west, and its roof affords a view superior to that from any other point in the city. Messrs. Sosman & Landis have added an electric theater, similar to that presented at the World’s Fair, and have ready for reproduction many of the interesting sights of the great exposition. Their place is one of the attractions of the city.”
Their previous residency in Fairfield was again mentioned the following year to when a new theater was being planned in Washington City. On Jan. 2, 1895, the “Fairfield Ledger” reported, “Western capitalists are here to build a large and handsome theater at Washington City. Sosman & Landis of Chicago, both former residents of Fairfield, are among the projectors of the enterprise. These gentlemen are said to have the largest scene painting studio in the world…” (page 3).
In the beginning, Sosman & Landis accepted any project that came their way, crisscrossing the country from one city to another. By 1879, the two had secured enough funding to open a scenic studio in Chicago. They placed advertisements for mail-order scenery in newspapers across the country, while maintaining a permanent studio space. They also assembled crews to work in both Chicago, New York and many other cities.
Like Sosman, J. C. Blaine worked as a decorative painter and a stage carpenter. He traveled from town to town throughout the Midwest, completing a variety of projects. On July 5, 1883, the “Independence-Journal” of Ottawa, Kansas, mentioned Blaine’s ornamental work. The article reported, “Have you noticed the water color decoration in the parlors of the Centennial House? This work was done by J. C. Blaine. Notice it” (page 3). Blaine remained in the area and by 1907 was listed in the Painter and Paperhangers section of the Ottawa City Directory. At the time, his place of business was listed as 1212 E. 7th.
By the 1890s, Blaine represented the Sosman & Landis studio, working as both a scenic artist and stage carpenter for the firm. On October 9, 1891, the “Salina Weekly News” reported, “Scenery Here. The new scenery for the Salina Opera House is here. It is elegant in design and finish. Mr. J. C. Blaine of the house of Sosman & Landis is also here as stage carpenter and at work. He was given notice while at Sulphur Springs, Arkansas and came on immediately. The work will require one week to finish as the plans for carpenter work in the hanging did not come in time for Contractor Gilbert to complete before the arrival of Mr. Blain. The chairs are elegant and comfortable and are now being lined upon the floor in a large Semi-circle” (page 4).
I have uncovered very little about Blain’s personal history to date, other than that he moved west to California by 1910, where he continued to work as a painter in National City with James C. Blaine. It remains unclear whether James G. was a brother or son.” —
Here is the updated post about Joseph C. Blaine and his son James G. Blaine:
I am back from a two-month break after spraining both wrists on May 1, 2021. I panicked a bit, wondering if it were a career ending injury, so I took taking my sweet time recovering. Although I would like to think that I truly relaxed and enjoyed the break from constant research and writing, I really went a bit stir crazy. Yes, I still worked on projects, painted small things, traveled and carefully gardened, but my wrists just couldn’t handle the daily strained of typing and maneuvering a mouse. I am doing much better, but I am a returning to blog postings at a much slower pace.
I return to Sosman & Landis Scene Painting Studio staff biographies with employee No. 29 – John P. Toner.
Sosman & Landis Studio, c. 1910. From the Theatre Collection of Wendy Waszut-Barrett.
Toner worked as a scenic artist at Sosman & Landis around 1910. The Census that year listed Toner as a Chicago scenic artist. This places him in the right place at the right time. Last month, I even purchased a photograph of the studio building from 1910. That year, Toner was thirty-two years old and lodging at 2832 Indiana Avenue, just south of the Sosman & Landis studio. Other information in the 1910 census identified Toner’s birthplace as “Ire-England” in 1878. He emigrated to the US in 1889.
By 1928, Toner was mentioned fellow scenic artist Wat Williams, another former Sosman & Landis employee. Williams worked at Sosman & Landis between 1909-1916. In 1909, Thomas G. Moses wrote, “Wat Williams came into the studio and worked as my assistant. Pretty good, but very careless.” There is no indication as to when Toner was hired, or how long he worked alongside Williams in the studio. However, their employment at Sosman & Landis was mentioned many years later. Toner, like Williams, moved to New York in the 19-teens, where he continued to work as a scenic artist and became involved in the United Scenic Artists Association.
On March 1, 1928, “The Scenic Artist” published an article entitled “Wat Williams Speaking” (Vol. 1, No. 11, page 1). The newsletter was described as the “Official organ of the United Scenic Artists Association,” with the publication’s headquarters at 161 West 44th Street, New York City.
Below is Williams mention of Toner when he discussed an upcoming national conference in 1928. Here is the excerpt:
“My Dear Editor:
You are going on to the first coast to coast conference with Bro. Toner: John Toner and I used to work for the well-known Sosman & Landis of the City of Chicago where you will meet.”
Williams’ letter to the Editor continued, “You were telling me the other day of your experience in Chicago (in the day of the wooden sidewalk) and your experience as an impresario for real bottled beer. Beside the Chicago boys you will probably, I hope, have Truman Curtis, the president of the Los Angeles Local, as one of the delegates. Truman was my first art patron, having bought a couple of my studies when we were studying at ‘Smith’s Art Academy.’ Truman got me my first job in a scene painting place (don’t hold it against him) with Walter Burridge, then in Chicago. This goes back about a quarter of a century. At that time the urge to form some organization of the scene painter was dreamed of but that it should extend from coast to coast was not thought of. I should like you to bring attention to the fact preached to us by Walter Burridge that it is not simply a job of scenery; but that the main purpose of the artist in the theatre is a service problem; that of making the stage ensemble a work of art as truly as any picture of designs. The second thought would be to bring to the attention of the conference the desirability of establishing Examining Committees to stop the entry of people who will finally be a drag to the organization and themselves. These two problems are just as alive now as a quarter of a century ago.
Can I tack on a little about due collection? Nels Astner and myself are planning a drive to have our members see the desirability of paying their dues three months or more in advance instead of quarterly in arrears. It will not only lighten the burden of housekeeping but stop the damage that suspension brings to our members. On each month a third of our members are notified that they will be suspended if payment is not made at the end of the month. I believe that they will really see that the advance payment plan is desirable for all concerned.
I would like to make a personal appeal to our members to make their payments direct to the Financial Secretary of mail it, addressed to him. The habit of giving it to anyone else, especially without forwarding book at the same time, may cause everyone connected with it loss of money as well as extra work for those, already busy up to their neck.
We are making no new laws – simply enforcing those now on the books. Laws are not flexible or open to interpretation to suit individual cases – by officers less than anyone. Individual cases needing special construction will be laid before the Executive Board and a member’s chance for serious and just consideration of his appeal will not be depending on his nearness to the local. If you don’t advise us, we do not know your troubles.”
A follow-up article was published in the “The Scenic Artist” that April (No. 12, page 1), and was entitled “The Chicago Conference.” It reported, “The report of the Chicago and New York delegates to the Scenic Artists Conference in Chicago held at Chicago on the last three days of last month has been read to their several members and approved by them.” Toner was a New York delegate at the time.
The article continued, “They recommendations are clear, concise and easy to understand.
It may be hoped that every scenic artist regardless of what special line he follows, will see the advantage of a uniform basis upon which we as a craft may sell our services.
By a commonly accepted definition of the term stock, production and presentation, we shall without causing the slightest flurry, neither in our own of the producer’s ranks, have arrived at a definite way of knowing how to classify what a member is doing. Not what he must do – or must not do; but simply made it possible to really know whether work – of any sort – is being done according to Union rules or not.
Productions must of course be done under rules laid down for a Studio – let the Studio be permanent or temporary – old established or primitive; no one presumes to dictate as to the shape or nature of the building. The rules concerning Studios are as before as regards to charge-man, artist and helpers. Scenery traveling from place to place is of course a production: – or else what is?
Members running Studios shall not contract for Stock in such places as our rules clearly state that an artist shall be employed on contract.
Stock, as far as our craft is concerned, is scenery built and painted for a theatre to which a member is under contract.
The salary of the artist is stipulated with that specific clause being clearly understood.
As before, an artist under stock contract shall – by organization – be required to limit his work to the theatre he is employed in, and shall not engage in outside contracting or production work during the time of such employment.
Presentations may be done by one artist if necessary, provided it is only for one house.
A member may design and contract for as many presentation houses as he can handle provided his work is carried on according to the rules of the association. A rising scale of pay based on equity and economy was agreed on and a field very apt to run wild, and for that matter pretty difficult to control properly, has been defined.
Every angle of the craft was given close attention and where necessary thoroughly discussed. The object of the conference was not to inject a lot of new kinks, but for the explicit purpose of arriving at a uniform wording and interpretation of all rules, by-laws, contracts etc. thereby making the first great step toward a unification of the entire craft. The ambition of single members to rise and soar is fine; but it should have a proper take-off. Too often the member who throws his lot with the side to whom he has to look for monetary returns makes a fatal mistake. Agreed that he has the right to conduct business, even to destroy himself; but he has no right to jeopardize the livelihood of fellow members. It would be better all-around if he should lend all his strength to his organization and help to convince purchasers of our work that the best way is the cheapest after all.
There is no call for individual members of our craft to make frantic efforts to cheapen either our standards or our product. The cheapening of scenic art may be safely left to those who are not members of our craft.
The rules are there. The rules are simple; it only remains with the members to take advantage of them.”
In 1928, Toner was listed as one of the New York delegates with other noted individuals including: Chas. E. Lessing, NY; Orville Lyman; Chicago, Peter Donegan, Chicago; Herman Bartels, Chicago; and G. VC. Fisher, New York.
Tracking down any information pertaining to Toner has been quite a challenge, despite mt break. The problem is that there are too many John Toner’s who worked as painters, whether they were in the housing or automotive industries. There are just too many likely candidates for me to narrow my focus down to one individual. If I am ever able to refine my search, I will update this post.
I am still on break from daily posts, as my wrists will not allow me any extended periods of typing or surfing the internet. I have posted a few pictures of my most recent adventures to my Facebook Group “Dry Pigment,” but with minimal text. It may be another month before I return to any daily blogging.
That being said, last week I visited the Omaha Scottish Rite (Nebraska, USA) to evaluate their scenery collection. In 1996, the Valley of Omaha purchased the used scenery collection from the Scottish Rite Theatre in Kansas City, Kansas. It replaced their original scenery collection, manufactured by the Sosman & Landis Scene Painting Studio of Chicago between 1914 and 1915.
The current scenery used at the Omaha Scottish Rite was painted by Maj. Don Carlos DuBois (1886-1964), representing the Great Western Stage Equipment Co. Collection of Kansas City, Missouri. Many of the drops are signed and dated by DuBois, c. 1951-1953. It is truly a lovely collection.
Some of DuBois’ original designs for Masonic scenes are part of the Great Western Stage Equipment Co. Collection in the Performing Arts Archives at the University of Minnesota. Over thirty years ago I processed the collection, and in 1999 helped digitize the scenery collections and get them online. Here is the link for the scenery database:
Although I have written extensively about DuBois (born Don Carlos Boyes) in the past, it is important to note that he grew up in Seward, Nebraska. It was not until 1900 that DuBois moved to Chicago and became a scenic artist. It is remarkable that his scenic art is now featured in Omaha, only an hour’s drive from where he grew up.
It may be a while before I post again. Hopefully, I will be back by the end of June or mid-July. Have a wonderful summer!
Scenery painted by Maj. Don Carlos DuBois in 1952, now used at the Omaha Scottish Rite.DuBois design for the Scottish Rite scene now at the Omaha Scottish Rite.Scenery painted by Maj. Don Carlos DuBois in 1952, now used at the Omaha Scottish Rite.DuBois signature and date on this scene at the Omaha Scottish Rite.Painted detail from the leg drop painted by DuBois in 1952.
Scenic art examples from the Scenery Collection, stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University.
The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.
Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.
MaquetteScenic flats for stage setting.Detail of scenic flat for stage setting.Detail of scenic flat for stage setting.
Watkins “Wat” Williams was a scenic artist who worked at Sosman & Landis from 1909-1916. Later in life he credited Truman Curtis for helping him secure his first scenic art job with Walter W. Burridge in Chicago. He credited Curtis as his first art patron, having bought a couple of his studies when attending John Francis Smith’s Art Academy and the Art Institute of Chicago.
In 1909, Thomas G. Moses wrote, “Watt Williams came into the studio and worked as my assistant. Pretty good, but very careless.” There is no indication as to how long Williams worked at Sosman & Landis. However, by 1916, he had moved to New York where he continued scene painting and then opened an art gallery in Greenwich Village.
Wat Williams was an incredibly difficult individual to track down, but after piecing together a variety of random historic sources, his story was quite interesting. Wats was another scenic artist who worked in both Chicago and New York during the early twentieth century.
Watkins “Wat” Williams was born on August 9, 1882, in Detroit, Michigan. He was one of two children of Judson M. Williams (1856-1929) and Elizabeth “Lizzie” A. Arthur (1860-1925). Judson was a printer in Detroit who worked for the Free Press during the 1880s. In 1896, the Williams family moved to Chicago in 1896, where Judson continued to work in the printing industry. At the time of the move, Wat was only fourteen years old, and his sister Lucy (1885-1942) was eleven years old.
By the 1910 Federal Census, Watkins Williams was listed was as an artist in the scenery industry, still living at home with his parents. This would have been the year after Moses hired him at Sosman & Landis. Wat continued to live and work in Chicago throughout 1915. Like Moses and many other Sosman & Landis scenic artists, he became a member of the Palette & Chisel Club. Williams executed Gus Baumann’s designs for the Club’s private production of “The Shredded Vest” on May 18, 1912. He was also involved in another production in 1915. On May 4, 1915, the “Edwardsville Intelligencer” reported, “The Limit in Chicago. Chicago May 4 – Shades of Maj. Funkhouser and Anthony Comstock! With little on them but the spotlight, three young girls, who, those who saw declare, could have given Miss V. De Milo a tussle in a beauty show contest, last night performed before the Chicago Society of Artists in the rooms of the Palette and Chisel Club. ‘Sea Nymph,’ ‘Dawn,’ ‘The Vestals’ and ‘Luxury’ were some of the living pictures shown. The young women were posed by Glen C. Sheffer and Watt Williams, artists. They announced it is time ‘people began to lose their prudery’ and that they are negotiating with one of Chicago’s largest theatres to put the living pictures before the public. Some of the men and women who saw last night’s affair said something larger than the biggest theatre would have to be selected.” (Edwardsville, Illinois, page 8).
Williams also exhibited stage designs for a Palette & Chisel Club exhibition in April 1916 at the Art Institute of Chicago. The “Chicago Tribune” reported, ““New Exhibit at Institute. A unique event in the life of the Palette and Chisel Club in Chicago will take place on Tuesday evening, April 25, at the Art Institute. For twenty years the club has been holding its annual exhibitions at its own clubrooms. Tuesday night all precedent and tradition will be violated and its large and interesting collection of the last year’s activities along art lines will be shown at the Art Institute of Chicago. It is to be an extremely comprehensive exhibit, including in its scope not only paintings and sculpture, but the work of some master craftsman as well, men who apply their artistic talents to the usable things of life, incurring thereby the lasting gratitude of the practical masses.” The article noted that Wat Williams was a scenic artist at Sosman & Landis who “designed and painted the scenery for the immortal Sarah Bernhardt on her last American tour.”
In 1915, Watt married Elwyn Jennings. Their wedding announcement was published on Dec. 14 1915 in the Alexandria Times-Tribune (Alexandria, Indiana, page 3): “Announce Engagement. Word has been received here of the approaching marriage of Miss Elwyn Jennings of Chicago, Ill., to Watkins Williams, and artist, also of Chicago. Miss Jennings is the niece of Mrs. Thomas Downs, of this city.” The couple was married in Wilmette, Illinois, on Dec. 15 of that year. Wilmette is due north of Chicago on the shores of Lake Michigan, near Evanston. Illinois.
Elwyn Jennings Williams passport photo in 1919.
Jennings was the daughter of John H. and Ida Jennings of Wilmette, born on Dec. 20. 1894. Her father was a clerk at the First National Bank of Chicago, and the family lived at 426 10th St. There is no indication as to how Jennings and Williams met, but it was likely in the theatre as Elwyn was a costume designer. Much of the couple’s early marriage can be tracked on their passport applications and port arrivals.
By 1916, Wat was working in New York City as scene painter. That year he applied for a passport to visit France on behalf of the Y.M.C.A. He was described at 36 years old, 5’-8” with broad forehead, grey eyes (and glasses), prominent nose, drooping mouth, square chin, brown hair, dark complexion and oval face. Picture included with passport. Also included was a letter from the War department stating that they had no objection to “Williams, Wat of 150 West 4th St., N.Y.C. being sent for duty with the A. E. F. in connection with Y. M. C. A., signed by J. S. Moore, Capt. U.S. Army. After returning from overseas, the Williams settled in Greenwich Village where they were associated with The Paint Box Gallery. Williams also began working on various projects at Fort Dix, including painting murals in several recreation buildings. On July 18, 1918, the “Trenton Evening Times” reported, “A number of New York mural artists have offered their services in decorating the building, among them being David Robinson, portrait and magazine painter and his wife, Adella Klaer, also a noted painter; Howard Heath and wife, and Watt Williams of the famous Watt Williams Art Gallery. These will assist in the planning of the decorations and in the work itself and Elmer Adler, secretary in charge of the hut, has received offers from a few friends of part of the funds to pay for the work.” It was a close-knit community of artists and the works of Klaer (monotypes and paintings) were exhibited at The Paint Gallery in 1919. Williams’ 1918 draft registration listed that he was self-employed as a painter and working at 43 Washington Square, the address of The Paint Box.
On September 14, 1918, “American Art News,” reported, “The Old Paint Box Gallery of Greenwich Village is no more. The stable with its white-washed stalls has passed because Wat Williams is going ‘over there’ with the Y. M. C. A. His wife will remain here however, and she will have a greater Paint Box at No. 43 Washington Squ., where she can show paintings and play chess between times” (Vol. 16, No. 37). Well, his wife Elwyn also applied for a passport and began her own travels as a costume designer by the fall of 1919.
In 1918, Williams also worked on an outdoor event that simulated an Italian County fair. On June 28, 1918, New York’s “The Sun” reported, “Fifth Ave. Festa For Italy’s Blind. Real Old Country Fair Held in Front of Public Library. Italy moved to Fifth Avenue yesterday – not war-stricken Italy today but rural Italy of a happier time when the people in the quaint and beautiful old towns could make merry in their county fairs and there were no lovers and husbands at the front door to be anxious about – no enemy hammering at the door. A bright colored, singings, dancing Italy it was the liens guarding the Public Library looked down upon.
Bobby Edwards, whose normal occupation around Greenwich village is playing his ukulele made out of a cigar box, designed the whole fete from drawings by De Falle and other Italian artists. Watt Williams helped him, and flocks of pretty girls, and the Metropolitan opera chorus, and Giordani, the donkey, and his picturesque green and red garbed driver, and vegetable men, who nobly contributed their almost priceless wares. And movie actresses, and Raymond Hitchcock assisted in carrying out the ideas of Wat and Bobby” (page 6).
Wat was mentioned by the “New York Tribune” on Dec. 15, 1918, in the article “Poets Who Toil” by Lionel C. Moise. The subheading for the article noted, “In Greenwich, war left a golden trail of prosperity behind.” Wat was included as “another prominent villager who got a job at the plant and held it was Watt Williams, who runs art of perpetual exhibition, entitled “The Paint Box” – admission 10 cents. He doubled the previous rate of production for the job to which he was assigned within a week after he entered.”
Wat also became a contributing editor to Greenwich Village’s “The Quill.” Between 1918 and 1919 there were multiple announcements and advertisements for “The Paint Box Gallery.” Keep in mind that New York’s’ Greenwich Village was considered America’s Bohemian capital in the 1910s and 1920s. Photographer Jessie Tarbox Beals (1870-1942) captured images of many shops at the time and exhibited her work at The Paint Box Gallery in 1919 (“Evening World,” 6 Sept 1919, page 7).
In April 1919, “The Quill” reported, “Old Wat Williams is showing some new art at the Paint Box Gallery; conservative and extreme art by the master of Duplex art, Howard Heath; art that the public can understand as well as art that the artist can understand. Art to art to art re–.” Also included in “Round Our Square,” was: ”Wat Williams says, anent the Provincetown Players, ‘The too-muchness of nothingness is a feeling of life gone out.’” The Paint Box also featured the psychochrome theories of Leon Engers Kennedy. On February 16, 1919, the “New York Tribune” announced, ““Mr. Leon Engers Kennedy is exhibiting a group of Psychochromes at the Paint Box Galleries, Washington Square South. Mr. Kennedy explains that “Psychochromes” translated means “soul color,” and “the eye of the soul directs the hand of the craftsman.” Earlier in January, 1919, “The Quill” reported, ““Wat Williams [owner of The Paint Box and contributing editor of The Quill] tells us that he is to have an exhibition for the coming month of the psychochromes of Leon Kennedy. Rallying the remnants of our education, which did included Greek, we should infer that the gentleman indicates with color what he thinks of your soul. We do not hazard a guess as to the meaning of an excessively blue portrait of Alestair [sic] Crowley, but we remember that dark red indicates a lust for murder, and would hesitate to have ourselves committed to canvas. When one stands in front of the portrait of la belle Madame X in the Metropolitan, one understands that she may have suspected Mr. Sargent of treating her a bit roughly, but with Mr. Kennedy, if you only have the color key, ‘it makes no doubts,’ as a charming French friend’s English has it. You know just what he thinks of you.”
On July 8, 1919, “The Evening World” included an article entitled “Hugh Ferris Shows His Work at the Paint Box” (NY page 10). He included a sketch of the gallery as part of his exhibit that was mentioned in the review: “His drawing of the old Paint Box, adapted from the converted stable, is very delicately executed.”
This was the same year that Elwyn Williams applied for her first passport. Her application noted that she was a Costume Designer, sailing to France for work. The Paint Box Gallery address on Washington was listed for the address of her employer, with her home residence at 213 W 147th St. Elwyn was planning to travel for six months. In 1920, she returned, and was listed on the incoming passenger list from London, arriving in Montreal November 1920. She was listed as a Costume Designer “c/o the American Consul, London.” Elwyn continued to travel, an in 1921 venture to Yokohama, Japan, also for work. Information pertaining to Incoming passengers notes that she was currently residing at 426 10th St, Wilmette, Illinois; this was her parents’ home at the time.
Despite Elwyn’s travels, the 1920 Census did not list her living with Wat. Although he was listed as married, Wat was now living with James A. Giel, a 37 yrs. old newspaper reporter from New Jersey. The couple eventually divorced, but I have yet to locate any records to verify their legal separation. I have also been unable to discover any other information about Elwyn Jennings Williams.
In regard to Wat, he continued to work as a scenic artist and was repeatedly mentioned in the “Scenic Artist” section of “The Billboard.” On September 24, 1921, “The Billboard” reported Williams has been engaged to paint the sets of the Irving Place Theater. ‘Lilliom’ is to be the first production. This is the same production that is playing on Broadway, and the Jewish production received a very flattering comment on the beautiful scenic work” (page 21).
On March 1, 1928, “The Scenic Artist” included an article entitle “Wat Williams Speaking” (Vo. 1, No. 11, page 1).
“My Dear Editor:
You are going on to the first coast to coast conference with Bro. Toner: John Toner and I used to work for the well-known Sosman & Landis of the City of Chicago where you will meet.
You were telling me the other day of your experience in Chicago (in the day of the wooden sidewalk) and your experience as an impresario for real bottled beer. Beside the Chicago boys you will probably, I hope, have Truman Curtis, the president of the Los Angeles Local, as one of the delegates. Truman was my first art patron, having bought a couple of my studies when we were studying at ‘Smith’s Art Academy.’ Truman got me my first job in a scene painting place (don’t hold it against him” with Walter Burridge, then in Chicago. This goes back about a quarter of a century. At that time the urge to form some organization of the scene painter was dreamed of but that it should extend from coast to coast was not thought of. I should like you to bring attention to the fact preached to us by Walter Burridge that it is not simply a job of scenery; but that the main purpose of the artist in the theatre is a service problem; that of making the stage ensemble a work of art as truly as any picture of designs. The second thought would be to bring to the attention of the conference the desirability of establishing Examining Committees to stop the entry of people who will finally be a drag to the organization and themselves. These two problems are just as alive now as a quarter of a century ago.
Can I tack on a little about due collection? Nels Astner and myself are planning a drive to have our members see the desirability of paying their dues three months or more in advance instead of quarterly in arrears. It will not only lighten the burden of housekeeping but stop the damage that suspension brings to our members. On each month a third of our members are notified that they will be suspended if payment is not made at the end of the month. I believe that they will really see that the advance payment plan is desirable for all concerned.
I would like to make a personal appeal to our members to make their payments direct to the Financial Secretary of mail it, addressed to him. The habit of giving it to anyone else, especially without forwarding book at the same time, may cause everyone connected with it loss of money as well as extra work for those, already busy up to their neck.
We are making no new laws – simply enforcing those now on the books. Laws are not flexible or open to interpretation to suit individual cases – by officers less than anyone. Individual cases needing special construction will be laid before the Executive Board and a member’s chance for serious and just consideration of his appeal will not be depending on his nearness to the local. If you don’t advise us, we do not know your troubles.”
The report was published the next month in “The Scenic Artist” – Official organ of the United Scenic Artists Association at 161 West 44th Street, New York City (Vol. 1, April 1928, No. 12, page 1), entitled “The Chicago Conference.” It started “The report of the Chicago and New York delegates to the Scenic Artists Conference in Chicago held at Chicago on the last three days of last month has been read to their several members and approved by them. The recommendations are clear, concise and easy to understand.
It may be hoped that every scenic artist regardless of what special line he follows, will see the advantage of a uniform basis upon which we as a craft may sell our services.
By a commonly accepted definition of the term stock, production and presentation, we shall without causing the slightest flurry, neither in our own of the producer’s ranks, have arrived at a definite way of knowing how to classify what a member is doing. Not what he must do – or must not do; but simply made it possible to really know whether work – of any sort – is being done according to Union rules or not.
Productions must of course be done under rules laid down for a Studio – let the Studio be permanent or temporary – old established or primitive; no one presumes to dictate as to the shape or nature of the building. The rules concerning Studios are as before as regards to charge-man, artist and helpers. Scenery traveling from place to place is of course a production: – or else what is?
Members running Studios shall not contract for Stock in such places as our rules clearly state that an artist shall be employed on contract.
Stock, as far as our craft is concerned, is scenery built and painted for a theatre to which a member is under contract.
The salary of the artist is stipulated with that specific clause being clearly understood.
As before, an artist under stock contract shall – by organization – be required to limit his work to the theatre he is employed in, and shall not engage in outside contracting or production work during the time of such employment.
Presentations may be done by one artist if necessary, provided it is only for one house.
A member may design and contract for as many presentation houses as he can handle provided his work is carried on according to the rules of the association. A rising scale of pay based on equity and economy was agreed on and a field very apt to run wild, and for that matter pretty difficult to control properly, has been defined.
Every angle of the craft was given close attention and where necessary thoroughly discussed. The object of the conference was not to inject a lot of new kinks, but for the explicit purpose of arriving at a uniform wording and interpretation of all rules, by-laws, contracts etc. thereby making the first great step toward a unification of the entire craft. The ambition of single members to rise and soar is fine; but it should have a proper take-off. Too often the member who throws his lot with the side to whom he has to look for monetary returns makes a fatal mistake. Agreed that he has the right to conduct business, even to destroy himself; but he has no right to jeopardize the livelihood of fellow members. It would be better all around if he should lend all his strength to his organization and help to convince purchasers of our work that the best way is the cheapest after all.
There is no call for individual members of our craft to make frantic efforts to cheapen either our standards or our product. The cheapening of scenic art may be safely left to those who are not members of our craft.
The rules are there. The rules are simple; it only remains with the members to take advantage of them.
The Chicago conference consisted of Chas. E. Lessing, chairman; NY; Orville Lyman, Chicago; Peter Donegan, Chicago; Herman Bartels, Chicago, and John Toner and G. VC. Fisher, New York.”
Williams continued to live and work in Manhattan throughout the 1930s. Although still listed as married, he was living by himself at 74 West 37th Street .
By the 1940s, Williams returned to Chicago. His 1942 draft registration card listed Williams residing at 1447 N. Wells St. In the box that noted the person who would always know his address, Williams wrote: “United Scenic Artist – Woods Bldg.”
Williams died in Chicago on Oct. 19, 1945. He was buried on Oct. 23 1945 in Mount Hope Cemetery in Worth, Illinois.
Wat Williams’ portrait attached to his passport application.
Scenic art examples from the Scenery Collection, stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University.
The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.
Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.
A unique last name can guide research, helping track down an individual in historic records and newspaper articles. However, a really unique last name causes difficulties due to continued misspellings throughout the decades. Similarly, common names in a region are also a nightmare, varying from one state to another. For example, in Minnesota, Scandinavian immigration caused an abundance of Johnsons, Olsons, Nelsons, and Petersons in city directories. Any of these last-name issues are compounded when individuals traveled for work, such as scenic artists and stage mechanics. Of all the scenic artists working at Sosman & Landis, Fred Scott may be the most difficult one to track down due to the commonalty of his last name
Fred Scott was a scenic artist at Sosman & Landis, c. 1904-1911, although this period of time could realistically span from 1889-1923. Part of the problem in tracking down information about this particular scenic artist is that there are multiple listings for artists named Fred or Frederick Scott across the country. Even narrowing the search to Chicago from 1890-1910 is problematic due his common last name.
Long after Scott’s employment at Sosman & Landis, he was remembered by Thomas G. Moses, Art Oberbeck and John Hanny. Scott’s earliest association with the firm was recorded by Moses in 1904. That year, Moses left his position at Moses & Hamilton in New York and returned to Chicago to work at Sosman & Landis. It was at this point that Moses became vice-president of the firm, a company shareholder, and was given complete aesthetic control over all projects. This meant that he still painted as a scenic artist for the firm, but now supervised all of the design, construction, painting and installation. Moses’ return did not sit well with all of the studio artists. In 1904, he wrote, “When Mr. Sosman announced to the ‘gang’ that I was coming back and would take charge of all the work, there was much dissention among a few. Fred Scott tried to start a mutiny and quit, hoping the others would follow. But none did, and he came back. I put him on for he was a clever painter.”
Scott was also remembered by Oberbeck and Hanny, who started as paint boys during the first decade of the twentieth-century. Both men were interviewed later in life by Randi Givercer Frank for her Master’s Thesis, “The Sosman and Landis A Study of Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979).” In her paper, Givercer includes brief mention of several staff members at the studio. Both Oberbeck and Hanny remembered Scott, but in varying ways. She wrote, “Fred Scott was an excellent colorist. Oberbeck thought that Rider and Scott were the only two scene painters who used Scott’s color theory that every color must have an undertone. According to this theory, every color used in painting must have the same color in it to hold it together. Oberbeck painted ten or twelve Masonic Crucifixion scenes with Scott. To start, they would lay in the entire drop in ultramarine blue. Every color from the extreme light tones to the most dark, would have a little of that blue in it. Similarly, in Masonic treasure Room scenes, layered-in in burn umber, every color used would have some umber in it.”
That being said, Givercer later wrote, “Scott was a very bitter and eccentric man, The boys in the studio were afraid of him; he didn’t get along with many people. If something went wrong when he was painting, he’d take a six-inch brush, dip it in all the colors along the palette, stand back, throw it in the middle of the drop, and walk off. Or he would tear the drop off the frame in a fit of rage. Scott refused to let his son even talk about becoming a scene painter, but he did help the young boys at Sosman & Landis. He gladly taught Oberbeck anything he could, until Oberbeck was earning more money that he was. John Hanny once received a surprising letter from Scott, in which he gave him encouragement and constructive criticism. At another time his advice to Hanny was: If you’re unfortunate enough to want to be an artist, if you insist on being an artist – for heaven’s sake, be a good one.”
Moses mentioned Fred Scott again in 1911. At the time, the Sosman & Landis studios were extremely busy, with projects keeping both the main studio and annex studio on 20th Street. Moses left Nicholas J. Pausback in charge of the studio during his absences. That year Moses wrote, “Pausback had his hands full; Scott acted bad.” This does not paint a picture of a kind and considerate individual. Yet it suggests that Scott may have been skilled enough for an employer to overlook his basic personality flaws.
To date, I have only located one Cincinnati newspaper article that mentions a scenic artist named Frederick Scott in the twentieth-century. In 1898 Sosman & Landis has branched into theatrical management and sent several scenic artists to Cincinnati to work on several projects. On Nov. 6, 1898, the “Cincinnati Commercial Tribune” credited scenic artist Frederick Scott with the scenery for Brady Stock Company’s ‘Cyrano De Bergerac’ at the Star Theatre. The article reported, “The scenery for the new play is being made up by Scenic Artist Frederick Scott. Five elaborate sets will soon be completed.” This newspaper article places Scott in Cincinnati at the end of the nineteenth-century, possibility already working for Sosman & Landis. The Cinicnnati city directory listed an artist named Fred Scott for the years 1899 and 1900. Although no workplace is noted, Scott was living at 1312 Sycamore.
Article about Frederick Scott from 1898.
I have narrowed my Fred Scott search down to one likely candidate in the Chicago City Directory, an Englishman who worked as an artist in Chicago, beginning in the mid 1880s.
The only bread crumb is the mention of Scott refusing to let his son even talk about becoming a scene painter. Unlike single men who move from one city to another, a family is a bit easier to track in census reports; or so I thought until this particular quest. However, marriage and obituary notices for children often provide a glimpse into the lives of their parents.
My research suggests that Scott relocated his family from London to Chicago in 1891. Like some immigrant families, a father or older son journeyed to American prior to moving his family. This meant that they were able to secure work, gain income, and have adequate funding to cover the move of their family. This is how my grandmother traveled from Poland to the United States. Her older brother came first, and he gradually raised enough money to send for each sibling; one at a time.
My research indicates that Scott began working in Chicago in the mid-1880s. He is first listed in the Chicago City Directory in 1885, Frederick Scott, living at 274 Avon pl. He is again listed in the 1888 and 1889 Chicago Directory, working at 512, 70 State, and boarding on Clark Street. This is not meant to say that he did not return to visit, marry, and plan the relocation of his family. So, here is the history that I have located to date.
Frederick Scott was born on Aug. 6, 1854 in London, England, the son of Alice and Samuel Scott. He married Ethel Julia Grant Ketchum in 1890, and moved both wife and infant daughter to Chicago in 1891. The Scotts were counter in the 1891 London Census before emigrating to America. This meant that he missed being included in the 1890 Federal Census. However, by 1900 Scott was working as an artist and living at 5019 Turner Street in Chicago. At the time, the Scott family included his wife Ethel and children Marjory (b. May 1890, England), Granville (b. April, Illinois), Edwin (b. Feb. 1899, Illinois) and Bobs Victor (b. May 1900, Illinois). The Chicago birth record for Granville lists his parents as Frederick Charles Scott and Ethel J. G. Ketchum.
Within the first decade of the twentieth century, Scott’s marriage ended, and his wife remarried another artist. Ethel married Edwin S. Mitchell on Sept. 19, 1908. Her wedding records note that he was the daughter of James Ketchum and Matilda Grant, born on October 31, 1865, in Poona, India. He mother was Scottish and her father English.
The 1910 Census listed Ethel and Edwin living in Chicago with their five children from previous marriages: Ethel Marjory Scott (19 yrs.) and Granville Scott (14 yrs.) were listed as Edwin’s step-children, while Edwin K Mitchell (11 yrs.), Victor A. (9 yrs.) and Dorothy V. (4 yrs.) were listed as his biological children. Georgia was later born (1911). The two would celebrate the birth of Georgia in 1911. I am skeptical about Edwin and Victor, as those were also the names of Ethels and Fred’s youngest children.
The 1920 census provides a little more information about this blended family. Ethel M. and Granville are now adult children, still living at home. Ethel M. was working as a cashier for a Music Co. and Granville working as an electrician. In regard to their father, Fred Scott appears to have vanished from print.
I have yet to track down any obituary for Fred Scott, a second marriage record or any other historical record that suggest what happed to Scott after his wife remarried. Other than Moses’ mention of Scott in 1911, there is no further record of his work as a scenic artist.
Maquette and scenic pieces from the Scenery Collection, stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University.
The Scenic Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are 3 dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings.
Unfortunately, some of the scenery has been damaged since initial documentation. The roof leaks and flooding is a problem due to non-working sump pumps.
