Author: waszut_barrett@me.com

Copyright © 2021 by Wendy Waszut-Barrett

Henry C. Tryon worked at Sosman & Landis between 1884 and 1886. Born in 1847, Tryon’s original birthname was Henry B. Hoornbeck. Interestingly, this scenic artist not only created not only a new name for himself, but also a new birthplace and background story by 1886.  On Feb. 28, 1886, Tryon was one of six scenic artists featured in the “Inter Ocean,” alongside other Sosman & Landis artists that included Thomas G. Moses, Walter W. Burridge, Charles Ritter, David A. Strong, and John H. Young.

Here was Tryon’s listing:

“Henry C. Tryon. Born in Chicago in 1847.  After graduating from the public schools, and while in his 17th year, he enlisted in the army in a regiment attached to the Second Army Corps, Army of the Potomac, serving until the close of the war. Afterward was a pupil of the Pennsylvania Academy of Design, with the purpose of becoming a landscape painter, drifting there by choice and mostly by accident into scene painting, which he has practiced in nearly every State in the Union. Was an artist at Wood’s Museum at the time of the great fire, and afterward at McVicker’s Theater. He is better known in all the other large cities than in Chicago. Has been a pupil of the eminent artists William Hart, N.A. and Thomas Moran, N. A. and accepted an associate member of the Chicago Academy in 1874. He earned a 2nd degree and is a member of the Grand Army of the Republic. He had a large and varied practical experience, is a close student, has a fine education, and has given considerable attention to newspaper writing on art and theatrical subjects. His most noticeable points of excellence and perhaps free and carefulness in the handling of foliage brilliancy and quality of color and the delightful shape of them.” Henry continued to rewrite portions of his history throughout the course of his career.

Historical records and newspaper articles present a slightly different history than that one recounted by Henry in 1886. Henry C. Tryon was actually born in Huron, Ohio, between 1846 and 1847. Interestingly, his death certificate listed Sandusky, Ohio; Sandusky is a little east of Huron, but also along the shores of Lake Erie. Henry was the son of Jacob Hoornbeck (1813-1864) of Otswego, New York, and Anna Maria Hammer Hoornbeck (1824-1892) of Hagerstown, Michigan.  In many historical records, the alternative spelling for Hoornbeck was Hornbeck.  By 1850, the Hoornbeck family had moved west and was living in Portland, Ohio. Henry’s siblings included William Patterson (1848-1907), Mary (1851-1854), Sarah (1854-1858), Dell (1855-?), and Spencer (1863-?). In some historical records, Henry was listed as Spencer’s father, but this aspect remains a mystery.

            The patriarch of the Hoornbeck family was Jacob, who passed away in 1864. At some during the Civil War, the Hornbeck family moved to New York. It remains unclear what prompted the move, however, New York Civil War records list Henry B. Hornbeck enlisted in the Union Army on February 16, 1865, mustering out as a private in the 69th Infantry on that same date. Military records also list his occupation as a clerk, describing Henry as 5’-3 ¼” with light hair, blue eyes and a fair complexion. “Light” hair is relative, and does not necessarily mean blond. After serving in the war, the Hoornbeck family relocated to Chicago, and by 1870 Anna Maria Hoornbeck was living with her sons Henry, Dell, and Spencer.

By 1872,  Henry B. Hoornbeck was working as a scenic and changed his name. The following year, Tryon married Bridget “Bee” Pierce on Nov. 13 in Chicago. They celebrated the birth of one only son, Henry Tryon Jr., on August 18, 1874. It remains uncertain as to what happened to either Tryon’s wife or son. I have yet to locate any record of death, abandonment, divorce or remarriage. However, by 1884, Tryon was courting another woman; one that he never married. Tryon’s early theatrical career is about as difficult to interpret.

The earliest publication of Henry C. Tryon’s theatrical activities date from 1868 in Chicago. That year, Henry C. Tryon was listed as playing the role of “Page” in “Elizabeth,” starring Mrs. Lander (Jean Davenport) at the opera house (“Chicago Tribune,” 11 February 1868, page 4). Although Henry was performing under the name Tryon, he was still living under his birthname of Henry B. Hoornbeck. The 1870 Chicago Directory as Henry Hoornbeck, living with his mother and brothers (Dell and Spencer) at 384 W. Lake. That same year “Henry C. Tryon” was working as a scenic artist, painting at D. R. Allen’s Globe Theater, Aitkin’s Museum and Wood’s Museum (Chicago and Cincinnati). At Allen’s Tryon worked alongside scenic artists James H. Rogers and John  M. Kaufman. He would continue to work with Rogers on various projects for the next few years. As an itinerant artist, Tryon worked throughout the region, soon venturing west and into Kansas. During the winter of 1870, Tryon secured work in Lawrence, Kansas. The “Daily Kansas Tribune” reported, “Mr. Henry C. Tryon, from Allen’s Globe Theater, Chicago, is at present painting the scenery for the stage in Frazer’s Hall” (The Daily Kansas Tribune, 28 Dec. 1870, page 3). The stage installation consisted of “drop curtain, seven sceneries, tormentor wings and front drapery, representing a garden, palace, landscape, kitchen, prison, parlor, plain chamber and street, with wings and borders complete.

Tryon also worked in Topeka, Kansas, and on January 31, 1871, the  “Kansas State Record” reported, “Mr. H. C. Tryon, the scenic artist from Chicago will commence painting scenery for “Esther,” to-day. Look out for something beautiful. Mr. Tryon is one of the finest artists in the West” (Topeka, Kansas, page 4). In the 1870s, Tryon cast his net wide and accepted work anywhere in the country. This still meant that his permanent residence was in Chicago.  It was the Chicago Fire of 1871 that greatly changed the prospects for Tryon many scenic artists in Chicago. By 1872 Tryon was part of a group of scenic artists who banded together to create Alderson’s Great Panorama of the Chicago Fire. The panorama immediately toured the country, and included musical accompaniment and descriptive recitations. Advertisement’s for the panorama stated, “3,700 feet of canvas from actual views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry C. Tryon, scenic artist of Wood’s Museum; Henry Dressel, scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House” (Figaro, San Francisco, 31 July 1872, page 1).  

On April 13, 1872, Henry C. Tryon advertised in the “New York Clipper”: “Henry C. Tryon. Late Scenic artist Woods Museum, Chicago is prepared to paint scenes and drop curtains for theaters, public halls, etc. 363 W. Indiana St. Chicago, Illinois” (13 April 1872, page 20). He continued to place ads in the “New York Clipper,” but his address soon changed from 128 W. Randolph to 210 Clark Street. At this time, he permanently changed his name from Hoornbeck to Tryon. Early in 1872, Tryon was also working as an assistant to Mr. R. H. Halley’s assistant, painting scenery for the Wyndam’s Comedy Co. (Chicago Tribune, 5 May 1872, page 7). Halley had recently returned from Europe. On April 5, 1872, the “Chicago Tribune” reported, “R. H. Halley, the eminent English scenic artist, whose brush added so much to the attractive features of Crosby’s Opera House and the Dearborn Theatre, has just reached New York from Europe, and will soon visit Chicago. He will paint scenery for Myer’s Opera House, building on Monroe street, directly in the rear of McVicker’s Theatre” (page 5).

At the same time Tryon worked with Halley, he also studied with Lou Malmsha of McVickers. October 22, 1882, Tryon wrote a tribute to Malmsha. Tryon wrote, “As an humble follower, ardent admirer, friend, and confrere of this dead artist I felt it my duty to render tribute and homage to his transcendent genius. He was ‘the best in the profession.’ Every artist who has seen his work has without qualification given him this position as a matter of simple fact. I have seen samples from the hands of the best scenic artists in England, France, and Italy, and from what I have seen and learned. I am convinced that Mr. Malmsha was the greatest scenic painter in the world.” Mamlsha and Halley were among the top in their profession in the 1870s. On September 18, 1872, the “Chicago Tribune” noted that both Halley and Malmsha were “schooled under the artistic Telbin, of London, and others, and reflect lustre on their names as men of merit and talent” (page 4). Tryon worked with Malmsha not only at Wood’s Theatres in Chicago and Cincinnati, but also McVicker’s Theatre in Chicago. Tryon could not have picked better two individuals to study with in the 1870s. It was during this time that Tryon officially changed his name in Chicago.

On September 19, 1872 Chicago’s “Inter Ocean” newspaper reported, “Petition of Henry B. Hornbeck. Petition to change above name to that of Henry C. Tryon. Petitioner is an artist, and has been known by the name Tryon among his friends and in business, and it is important that he should retain the name. A notice of his application for the above purpose, which has appeared for three weeks in the Legal News, is appended to the petition. Willett & Herrings, solicitors” (page 6). The 1872 Chicago Directory listed “Henry C. Tryon, scenic artist” residing at 128 W. Randolph. Tryon was not a random choice. At the time, he was living with the Horatio Tryon (b. 1826) and Estella Tryon. It is unclear as to when Henry met the Tryons or the exact nature of their relationship, but it was likely an apprenticeship. To all indications, Henry adopted the older couple and functioned as a son until Horatio’s passing. Both Henry and Horatio Tryon were listed as artists in the business section of the Chicago Directory in 1872, each residing at 128 W. Randolph. In print, it appears to be a father-and-son partnership. Henry continued to list his permanent residence with the Tryons until 1879.

Horatio Tryon was an artist and sculptor who made a name for himself in the East before moving to Chicago. The 1857 New York Directory listed, “Tryon, Horatio, marble, h. 270 W. 31st.” By 1863, Horatio Tryon’s Civil War Draft Registration listed him working as a sculptor in New Haven, Connecticut. Shortly after Horatio Tryon registered for the draft he relocated to Chicago, and soon was being listed in the 1864 directory at 221 Washington. Horatio Tryon remained in Chicago for the remainder of his life, passing away in the late 1870s.

            During the 1870s, Tryon painted scenery for the renovated Academy of Music in Indianapolis, Indiana (1874), the Grand Opera House in Cincinnati, Ohio (1875). Henry C. Tryon and Lemuel L. Graham formed a scenic art partnership that lasted from the summer of 1876 to the spring of 1877. On August 9, 1876, the “South Bend Tribune” credited Henry C. Tryon and Lemuel L. Graham with new scenery for the South Bend opera house. Fifty years later, the small note was republished: “South Bend.-L.L. Graham, of the academy of music of New Orleans, La., and Henry C. Tryon of McVicker’s theater of Chicago, scenic artists are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others.” (“South Bend Tribune,” 9 Aug 1926, page 6).

On December 23, 1876, the “New York Clipper” published their advertisement:

“HENRY C. TRYON from McVicker’s Theatre, Chicago, and L. L. GRAHAM from the Academy of Music, New Orleans, La. are prepared to paint, in first-class metropolitan style, scenery for theatres and public halls. Address, for the present, HENRY C. TRYON, care of Tootle’s Opera-house, St. Joseph, Missouri, and L. L. Graham, New Opera-house. Findlay, Ohio. Permanent address, care of McVicker’s Theatre, Chicago. As we are “birds of passage” due notice of change of address will be given. Respectfully, TRYON & GRAHAM.” The partnership did not last long and Tryon was soon on his own again.

In 1878 Tryon was credited with the stock scenery for the new opera house in Monticello, Iowa. On March 14, 1878, The Inter Ocean mentioned the scenic artist for Monticello, Iowa’s new opera house: “The scenery by Henry C. Tryon, scenic artist of Chicago is superb” (page 5). On that same day, the Dubuque Daily Times also mentioned the new opera housein Monticello, reporting, “The structure – the school house above and the Opera House underneath – is the pet and pride of our town, and great interest was taken in its dedication. It is pronounced by good judges to be one of the finest public halls in the west, and by far the nicest in Iowa outside Dubuque, Davenport and Des Moines. The scenery painted by C. H. Pyron [sic. H. C. Tryon], the famous scenic artist of Chicago, and it was really elegant” (page 2).

Tryon then became well-known for his transformation scenes, especially those as featured in “The Black Crook.” On May 25, 1878, an Indianapolis newspaper known as “The People” included an article and advertisement for a “Spectacular Combination.” The article advertised,  “Introducing, through a tale of enchantment, all the scenery, ballet costumes, etc., of the BLACK CROOK! Elegant scenery by Tryon, Malmsha, Burcky and Strong” (page 8). Tryon was specifically credited with the “dazzling transformation scene” in the advertisement. Soon thereafter. Tryon was also credited with painting new scenery for a revival of “A Tale of Enchantment” for the Coliseum theatre in Cincinnati, Ohio.

In 1878 Tryon also partnered with his brother William P. Tryon. During this period, William P. Hoornbeck also changed his last name to Tryon, going by William P. Tryon. The two brothers were living with Estella Tryon, now listed as Horatio Tryon’s widow, at 198 W. Lake Street in Chicago. The “Tryon Brothers” produced “A Tale of Enchantment.” This was a touring spectacle in four acts based on “The Black Crook.” On February 24, 1879, an advertisement for Baltimore’s Front Street Theatre attractions featured the show. Their advertisement in the “Baltimore Sun” listed Tryon Brothers’ production, “A Tale of Enchantment. Replete with all the elements of the most wildly romantic interest, produced at an actual cost of Three Thousand Dollars. 100 Superb and Costly Dresses. Rich Appointments, Glittering Paraphernalia.” After a series of legal battles concerning the production’s similarities to the “Black Crook” and another version produced by the Kilrafy Brothers, the Tryon brothers ended their touring engagement and sold the stage settings. On Dec. 25, 1880, the “New York Clipper” included an advertisement for the sale of previously-used scenery painted by Henry C. Tryon: “SCENERY for a tropical transformation , properties, dresses , etc… and the manuscript and music or The Tale of Enchantment are offered for sale by Henry C . Tryon , who advertises.” (New York Clipper, 25 Dec 1880). Interestingly, Tryon was also credited with delivering scenery for a production of “The Black Crook” at Niblo’s Garden in New York in 1879; Tryon and Edward Simmons were credited with the scenery. Tryon was again working alone.

In 1880, Henry C. Tryon painted scenery for “Sea of Ice.” On May 17, 1880, the “Muscatine Journal” reported, “All the scenery to be used was prepared especially for the play by the talented artist, Henry C. Tryon, formerly of McVicker’s Theatre, who is now here, and will personally superintend the production of the drama” (page 4). His settings for the production included: the main deck of the Urania; a plain of ice; the coast of Mexico; and a garden in Paris. The “Muscatine Journal” article elaborated, “Among the beautiful and surprising scenic effects to be produced may be mentioned the display of the Aurora Borealis, the breaking up of the ice, the fall of the ice bergs, the tropical sunset, the ripple of the ocean, and the fountain in the garden scene.”

As an itinerant scenic artist, Tryon dashed from one project to another across the country. Artists on the go provided contact information in a variety of publications. Tryon placed ads in the “New York Clipper.” A listing from December 4, 1880, listed, “Henry C. Tryon, scenic artist. Address, care 20 South Canal Street, Chicago, Letters will be forwarded.” He continued to provide the same contact information on February 5, 1881.  It was during this time that Tryon partnered with Henry E. Burcky, both traveling east to paint in Cincinnati for the Opera Festival. An article in the “Cincinnati Enquirer” reported, “Messrs. H. E. Burcky and Henry Tyron, the young and talented artists who came here from Chicago to assist painting the scenery, have been doing excellent work. They are bright, intelligent and rapid workers and but for their assistance it would have been difficult to have the scenery ready by Monday next. Mr. Burcky is scenic artist at Hooley’s Theater in Chicago, and Mr. Tryon at McVicker’s. They express themselves as amazed at the extent and magnitude of the affair” (15 Feb 1881, page 4).

The two worked together, forming a brief partnership for the duration of the project, as well as working alongside several well-respected scenic artists that included Fox, Magnani, Humphreys, Hughes, and Rettig & Waugh.

After working in Cincinnati, Tryon headed west to Minneapolis, Minnesota where he worked later that spring. On May 21, 1881, the “Star Tribune” reported, “Henry C. Tryon, the excellent scenic artist left to-day for Chicago where he goes at once to fulfil another engagement” (21 May 1881, page 5). Within a few weeks, Tryon left Chicago and headed west with his younger brother Spencer to Denver, securing work at the Tabor Grand Opera House. The Tabor Grand Opera House opened on Sept. 5, 1881, with the Tryon brother’s painting the stock scenery. Spencer who also adopted the lats name of Tryon while working with his brother in the West. While in Denver, Henry C. Tryon was credited with scenery for Tivoli Theatre too. On May 24, 1882, Tivoli Theatre advertisements in the “Colorado Daily Chieftain,” announced, “Complete set of new scenery! From the brush of Henry C. Tryon, scenic artist of the Tabor Grand” May 24, 1882). By June 1, 1882, the “Colorado Daily Chieftain” announced, “Henry C. Tryon, the scenic artist, is making constant additions to the Tivoli scenery. The gentleman has few superiors in his line” (page 3).

            Regardless of his work at other Denver theaters, or his initial work in Utah, Tryon remained associated with the Tabor Grand Opera House of Denver throughout 1882 On September 30, 1882, the “Ogden Standard” referred to Tryon as  “Mr. Henry C. Tryon, of the Tabor Grand Opera House.”  Burcky followed in Tryon’s footsteps two years later. After the Tryon brothers left for Utah, Burcky became associated with both the Tabor Grand Opera House in Denver and Tabor Opera House in Leadville, Colorado. The Tryon brothers remained in Salt Lake City for the next few years, painting new stock scenery and special scenes for the Salt Lake Theatre, as well as working on other projects in the area. By the spring of 1883 Tryon was listed as the official scenic artist for the Salt Lake Theatre. Just prior to accepting this position, the San Francisco Grand Opera also offered Tryon a position as scenic artist at their establishment. It was this offer that helped Tryon negotiate work at the Salt Lake Theatre.

In Utah Tryon worked with many local artists, such as decorative painter William Clyde Morris and landscape artist Alfred Lambourne (1850-1926).  Lambourne referred to his mentor as “that erratic genius, that Bohemian of Bohemians.” Of his training with Tryon, Lambourne wrote, “…I worked with Tryon about seven weeks. Not on the paint gallery of the Salt Lake theatre, but in one of our southern towns, where we had taken a contract, jointly, for furnishing a set of stock scenery. Those seven weeks were among the most exciting, and from the art standpoint, most profitable of my life. Tryon arrived in Salt Lake City, after a long and successful season of scene-painting in Chicago, and at the Tabor Grand, in Denver. Who, that knew the man, could ever forget that walk, that shock of unkempt red hair, that shrewd ingratiating smile and fun, the enthusiasm, or flash of anger in those steel gray Irish eyes. How distinctly I remember the low suppressed tones of his voice and the sparkle in the same eyes, as he once confronted me and uttered these words: “I have never yet met a man whose combativeness I could not overcome with my own.” (quote from “Reuben Kirkham: Pioneer Artist” by Donna L. Poulton, PhD.)

From the fall of 1882 until the fall of 1883, Morris worked alongside the Spencer Tryon at the Salt Lake Theatre. On January 30, 1883, the “Salt Lake Herald” reported, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tryon, the artist of the Salt Lake Theatre, He is very talented and although scarcely more than a boy in years, has produced some very fine work here and at the Tabor Grand Opera House, Denver. We congratulate Mr. Morris upon the opportunities for the display of his recognized ability, which the scenery at the Salt Lake Theatre has given him, and which will give him in the future, as he has been engaged to assist the artist upon all work done.”

Henry Tryon worked as a scenic artist and author in the Salt Lake City area until 1884 before heading to Chicago. While in Salt Lake, Tryon’s name constantly appeared in regional newspapers. In addition to painting new scenery, Tryon also exhibited much of his easel art and submitted several articles to the “Salt Lake Daily Herald.” His creative ponderings included articles entitled “Artistic Flashes” and “Art vs. Skill.” Tryon also published a passionate tribute to his former mentor and friend, Lou Malmsha, upon his passing in October 1882. He continued to work as an itinerant artist in 1883, leaving Spencer and Morris in Salt Lake. In 1883, Tryon painted scenery for the new Scottish Rite Theatre in Indianapolis, Indiana. While working in town he was listed in the Indianapolis City Directory, boarding at the Bates House.

            By 1884 Tryon returned to Chicago and began working at Sosman & Landis Scene Painting Studio. The memoirs of Thomas G. Moses provide some insight into Tryon’s training. Moses commented that Tryon’s arrival enthused him more than anyone before. They became close companions and soon planned an outing. Moses wrote, “I certainly enjoyed talking on any subject with Tryon.  He was very strong on politics, which did not particularly interest me.  He was very interesting when it came to anything on art.  He had been a pupil of Thomas Moran.  Tryon told this story:  He had bothered Moran for some time trying to induce Moran to take him on as a pupil.  Moran was too much of a gentleman to throw Tryon out of his studio, so he finally took an old canvas, slapped on a lot of color with a palette knife, handed it to Tryon and said: “Take home that, make a picture out of the accidentals and bring it back in a week.” Moran felt that Tryon would throw the canvas away and not come back.  The week-end found Tryon back and Moran was so well pleased with the result that he took Tryon in as a pupil, which was very beneficial to Tryon who followed Moran’s style of work even into his scenic painting, as well as his oil.  He enjoyed telling this story; he surely must have made a good picture of Moran’s accidentals.” Moses’ memoirs paint a very colorful pictured of Tryon as an extremely eccentric artist.

In 1885, Tryon, Moses and John H. Young went to West Virginia on a sketching trip. Moses wrote, “Henry Tryon and I started for West Virginia on a sketching trip. I had more bother and worry with Tryon than a hen with a brood of chickens; he was simply impossible. A very clever painter but he was not balanced – very temperamental.” Moses remembered Tryon as “eccentric,” and recorded some pretty humorous episodes about the older artist on the sketching trip. His memoirs provide additional insight into Tryon’s artistic temperament.

Moses wrote, ““When we three were working together there was a constant stream of talk, not always about art.  Tryon was very fond of an argument. One instance: In painting a rock in the water, the wet part of the rock, being so much darker, forms a sharp line on the top of the water.  Young and I had always painted a light line – Tryon proved to us that the line was dark and water threw a shadow on the rock. He would lie on his back for hours studying the light coming through the eaves of a red maple.  At that time of year, the color was fine.  He succeeded in making a very effective sketch; the undertone was fine and the cool, grey lights were very effective.”

By the end of 1884, Tryon wrote a scathing article entitled “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago.” It was published on Dec. 28, 1884, in the “Chicago Tribune.” He remained at Sosman & Landis and was included with six other Sosman & Landis artists in the Feb. 28 “Inter Ocean” article.  He remained in Chicago for the next few years until heading east to Massachusetts.

Tryon’s return east was partially prompted by romance. On June 18, 1884, the “Salt Lake Herald” reported, “Henry C. Tryon, the scenic artist, wrote from Haverhill, Mass., that he is about to perpetuate matrimony, and he sends a photo of the beautiful lady whom he designates as the victim. In gazing at the picture and thinking of Henry, we wonder how he was able to “work the act” (page 8). After returning to Sosman & Landis, Thomas G. Moses also mentioned Tryon’s romantic attachment when the two went on the 1885 sketching trip to West Virginia. Moses wrote, “At this time, Tryon was very much in love with a schoolteacher in Haverhill, Massachusetts, whose name was Hattie.  He promised to write her every day and she had promised to reciprocate.  So, we spent the evening writing letters to our dear ones.” Tryon’s love interest was Hattie R. Goodwin. The 1885 Haverhill Directory listed Miss Hattie R. Goodwin as a teacher at Bowley School, boarding at 136 High. This was the same woman who would later married Henry’s brother William.

            I have yet to locate any additional information about Hattie or a second marriage for Tryon in the 1880s. Interestingly, it was his brother William P. Hoornbeck who married Harriet R. Goodwin (1863-1918) in Haverhill, Massachusetts on August 1, 1888. In their marriage registration, Hattie was listed as a schoolteacher. William was definitely Henry’s brother as he listed the same birthplace and date as in their other family records. By 1889, William and Hattie celebrated the birth of their first daughter, Helen P., in Chicago. Regardless of how the romantic intrigue, in 1887, Tryon was working in Lawrence, Massachusetts, a neighboring town to Haverhill. Tryon painted scenery for the Lawrence opera house. The next year, his brother was married to Hattie.

Tryon stayed in Massachusetts and y 1891, was making associated with Boston’s Bowdoin Square Theatre. On Dec. 11, 1891, the “Boston Post” reported, “Work on the Bowdoin Square Theatre is progressing most satisfactorily. The contract to paint the scenery has been awarded to Henry C. Tryon, one of the first artists in the country and a pupil of Robeechi the leading scenic artist in Paris” (page 4). This information is questionable and remains unsubstantiated. So much of his history, as told by Tryon to the newspapers, was falsified or slightly twisted. Looking at Tryon’s life is like looking at a landscape through stained glass; everything takes on a slightly different color.

Tryon passed away on July 27, 1892, His death was entered into city records at Lawrence, Massachusetts.  His death record listed Tryon as a scenic artist from Chicago; the cause of death was noted as Bright’s Disease.  It all seems to have happened to fast. On February 14, 1892, the “Boston Globe” credited Tryon with the front draperies, drops curtain and several other scenes for the new theaters. Tryon and A. H. Davis were listed as part of the executive staff there. In mid-summer 1892, Tryon was a pallbearer at the funeral of friend and fellow scenic artists William Voegtlin.  Tryon’s own funeral happened before the end of summer.

Tryon passed away in relative obscurity, with newspaper announcements stating, “Scenic-Artist Henry C. Tryon died at Lawrence, Mass.” (Pittsfield Sun, 4 Aug. 1892, page 6).

To be continued…

Scenery for painted by Thomas G. Moses and Fitch Fulton for the Scottish Rite Theatre in Fort Scott, Kansas, 1924.

Examples of historic scenic art 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.

Copyright © 2021 by Wendy Waszut-Barrett

Ed Loitz was first hired at Sosman & Landis in 1883. He was a scenic artist who became a loyal assistant and friend to Thomas G. Moses. They worked together for over four decades. Whether Moses was employed at Sosman & Landis, or working on his own, Loitz was there to help. In a sense, he was Moses’ “right-hand man.” For most projects, Loitz traveled one step ahead of Moses, preparing the jobsite for the master artist’s arrival, and then assisting on site with painting and all other tasks.

Loitz worked with Moses at theaters Moses all over the country, including the New California Theatre in Sacramento (1889), the Tacoma Theatre in Washington (1889-1890), the Marquam Theatre in Portland, Oregon (1889), the Auditorium Theatre in Spokane Falls, Washington (1889), the Corvallis Opera House in Corvallis, Oregon (1889), the Broadway Theatre in Denver, Colorado (1890), the Grand Opera House in Ogden, Utah (1890), the Lyceum Theatre in Duluth, Minnesota (1890); the Alvin Theatre in Pittsburgh, Pennsylvania (1891), the John C Fisher Opera House in San Diego, California (1891), Gilmore’s Court Square Theatre in Springfield, Massachusetts (1891), and the Yo Semite Theatre in Stockton, California (1892).

Edward F. Loitz was born on July 28, 1864 in Chicago, Illinois. His parents were William Loitz and Christina Sutor Loitz, both from Łódź. The city of Łódź was annexed by Prussia in the second partition of Poland, so some census reports list their birthplace of the Loitz’s as simply Prussia. William was born in 1861 and emigrated to the Unites States in 1861. By 1870, he worked as a laborer in a distillery, living with his father-in-law Daniel Sutor. I am still on the process of tracking down the specifics of the Loitz family, as there were so many children and possibly a second marriage. However, in 1880, the remaining Loitz children at the home of William Loitz were August (15 yrs.) Bertha (7 yrs.), Charles (9yrs. ), Emma (3 yrs. ), Theresa (15 yrs.,). They were still living with William’s Father-in-law Daniel Sutor. In 1880, Edward was likely working and living outside of the home, apprenticed somewhere. By 1900 William was living with his daughters Bertha (27) and Emma (23); the same two that would be mentioned in Edward Loitz’s obituary. Edward also had an older brother, Arthur, who died April 16, 1906.

As far as Edward Loitz’s education and training before Sosman & Landis, little is known. However, he did attend public school until 8^th grade. So, he began working at Sosman & Landis between the ages of 18 and 19 in 1883, and immediately began traveling with Moses as his assistant. In 1895 Loitz married for the first time started his own family. He certainly did not settle down, nor did his marriage impede on his extensive business travel with Moses. Loitz married Mary C. Weinrich (1873-1869) in Chicago in 1895 and his first child was born the next year. Weinrich emigrated from Germany with her family between 1880 and 1882, becoming a naturalized citizen by 1897, after the birth of her first two children.  The couple celebrated the birth of three children total: Arthur R. (b. May 1896) and Virginia (b. July 1898) Frederick Francis (b. Sept. 1906). The youngest was born in Mount Vernon, New York, as the Loitz family followed the Moses family to live in Mount Vernon, New York, when Moses established the Moses & Hamilton scenic studio in New York City. Loitz had followed Moses to a few other cities before New York, including Cincinnati.

In 1897 Moses wrote, “Early fall found Mr. Landis and Mr. Hunt camped on my trail; offering me the Pike Theatre Stock Company work at Cincinnati for the season.  They agreed to send down enough drops from the studio to complete my contract.  I accepted $75.00 per week and went, taking McGreer and Loitz from Chicago.”  This was all part of the Sosman, Landis & Hunt Theatrical management firm in the 1890s. That season, Moses, Loitz and [Fred] McGreer also traveled to Indianapolis, Indiana, for a few projects, including Das Deutsche Haus, a venue later christened the Athenæum. The trio also delivered stock scenery to the English Theatre (Indianapolis, Indiana), the Grand Opera House (Columbus, Ohio) and the Valentine Theatre (Toledo, Ohio).  After completing these three projects, Moses wrote, “I think we did some good work.” Moses and Loitz also painted scenes for David Belasco’s “The Charity Ball,” as well as other stage settings used at the Pike Theatre, including “The Wife,” “Capt. Swift,” “Shenandoah,” “The Banker’s Daughter,” “Lottery of Love,” “Charlie’s Aunt,” “The Amazon,” “Trilby,” “Held by the Enemy,” and quite a few more shows for Pike’s in Cincinnati. Moses recorded that it was a very successful season overall, writing, “The different newspapers gave our work splendid notice every week.”

After their work for the Pike Theatre Stock Company, Moses and Loitz headed west. In 1899 they painted scenery for the John C. Fisher Opera House.  On August 27, 1899, the San Francisco Chronicle reported, “Thomas G. Moses of New York and a staff of well-known artists have been at work for the past few weeks painting scenery for the tour.” By 1900, Moses and Will F. Hamilton had partnered to open Moses & Hamilton in New York. Their studio was located at Proctor’s 125^th Street Theater. Moses’ wrote, “I took the Stock Company’s work in September.  We had some heavy shows, “Around the World in Eighty Days,” “Romeo and Juliet,” “Hazel Kirke,” “Prodigal Daughter,” forty shows in all.  I had to make ground plans and models.  I found I had my hands full.” It was at this point that he enlarged the scenic art staff at Moses & Hamilton. Of his employees, Moses wrote, “We depended on Al Roberts to get the stock work done.  Otto Armbruster was with us and he was a very valuable man.  He and Loitz worked at 125^th Street most of the time.  As we closed the year’s work, we found that we had done very well, and I didn’t regret going East; but we did miss our Oak Park home, and the Harrison Street house was a constant source of worry for us.” It was around this time that both Ella Moses and Mary Loitz packed up their households and children, relocating to New York. The Loitz family remained in the east for some time. It was not until 1920, that the US Census listed them again as residing in Chicago.

Interestingly, it was only Frederick Loitz who moved out of the Loitz home, got married and raised a family. His WWII draft registration card described Frederick as 5’-11”, 198 lbs., with brown hair, blue eyes and a fair complexion. His elder siblings, Arthur and Virginia never left their parents, each living at home and holding full-time positions. Arthur transitioned from an accountant to an income tax collector while Virginia went into secretarial work, eventually ending up as a private secretary at a life insurance company. After returning to Chicago, Frederick began working for the Chicago Motor Coach Company and married Alice A. Krueger. In 1920, Mrs. Edward Loitz also became a lifetime member at the Art Institute of Chicago (Bulletin of the Art Institute of Chicago, Vol. 19, No. 3, 1920, page 38).

Moses trusted Loitz enough that often when Moses left to secure contracts, Loitz was left in charge of the studio. When Sosman & Landis closed, Loitz remained with Moses and became part of the studio staff for the second iteration of Sosman & Moses. Moses & Loitz also painted scenery for the Binghamton Scottish Rite.

On October 17, 1923, Binghamton’s “Press and Sun-Bulletin” featured Moses and his work. The article was entitled “Vies with Nature in Realms of Beauty,” “Products of the brush of Mr. Moses and his assistant, Mr. Loitz, are not entirely new to Binghamton. Mr. Moses painted the landscapes and architectural exteriors for the State hospital theater and Mr. Loitz did the interiors.” In October 1923, the “Press and Sun-Bulletin” reported, “Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts” (17 October 1923, page 3). By 1923, the pair had been working together for forty years together. Their respective ages were 67 and 58. Loitz passed away seven years after Moses.

On Nov. 14, 1940, the “Chicago Tribune” published his obituary:

“LOITZ – Edward F Loitz, late of 1450 Grace Street, beloved husband of Mary C., nee Weinrich; fond father of Arthur R., Virginia E., and Frederick F., dear brother of Bertha and Emma. Member of Scenic Artist’s association. Funeral Saturday, 1:30 p.m., at chapel. 3807 Lincoln avenue, Burial Acacia Park Cemetery” (page 31).

The grave of Ed Loitz at Acacia Park Cemetery in Norwood Park Township, Cook County, Illinois.

To be continued…

Examples of historic scenic art 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.

Copyright © 2021 by Wendy Waszut-Barrett

John H. Young started at Sosman & Landis in 1883. He was part of a deal brokered between Thomas G. Moses and Lemuel H. Graham with Joseph S. Sosman and Perry Landis. In 1882 and 1883, Moses, Graham and Young were working together on several projects across the Midwest under the name Graham & Moses. In Eau Claire, Wisconsin, the two competed against Sosman & Landis for the same contract and won.  As Moses returned home to Chicago on the same train as Landis, Sosman was waiting for them and proposed a deal. He  convinced both Moses and Graham to close their studio and return to work at the Sosman & Landis studio.

By 1883, Moses had known Young for seven years and was extremely familiar with his artistic skills, especially that as a figure painter. The two first met in Grand Rapids, Michigan when Young was only 18 years old. Moses hired Young as an assistant on a church mural job. From early on, newspaper reviews describe Young as exceptional and incomparable; he had the gift and a magnetic personality. In his memoirs Moses fondly remembered Young’s flower garden as “a hodgepodge mixture of growing things.” As a joke, Young had bought a lot of seeds that had been accidentally mixed. In many ways, this was how Young lived his entire life; he planted unknown seeds and then waited for a surprise.

John Hendricks Young was born on June 10, 1858 in Grand Rapids, Michigan. He was the son of Samuel W. Young and Lena H. Young. Both emigrated from Holland and raised their family in Michigan. Samuel was listed as a saloonkeeper in the 1870 census and a pork packer in the 1880 census. There were no theater or art connections there to nurture any of the Young children.

John was the third of five children born to the couple. His siblings were: William S.  (b. 1822), Mary (b. 1854), John H. (b. 1858), Louis C. (b. 1865), Lillian M. (b. 1867).

In 1876 Moses was working with a Frenchman named Wardus on a church mural job in Grand Rapids, Michigan. They placed two advertisements in the papers: one for a figure painter and the other for an assistant. Young worked as an assistant to the figure painter, Tom Brown, recently hired from New York.  Of his crew, Moses wrote, “We three, the same age, roomed and chummed together and we had a fine time.  And, as I remember, we did some pretty good work.”  Their employer, Wardus, soon advertised the artistic trio as the “three young Roman artists.”  Of the designation, Moses recalled, “We didn’t look it – we were all quartered at a cheap hotel and we met a great many young people.”  Unfortunately, Wardus skipped town upon the completion of the project with all of the earnings, leaving the three young artists penniless. Left to their own devices, Moses immediately secured scenery work at an opera house, with Young and Brown hustling for sign work. Soon, Brown returned to New York, with Moses and Young heading to Detroit in hopes of meeting Wardus to collect their salaries. Realizing that Wardus had again left town, Moses returned to Chicago then Young returned to Grand Rapids. By 1877, however, John H. Young was listed as an artistic in the Grand Rapids City Directory, living at 99 Lyon Street.

Moses mentioned Young again in 1882 when he and Graham were working in Michigan. Moses wrote, “While in Grand Rapids, John Young joined us.  He was then working a candy concern, but was delighted to join us.” Young was listed as working in the candy manufacturing business in the 1880 Federal Census, residing as a lodger on 90^th Street.

Moses, Graham and Young went from Grand Rapids to Elgin, Illinois, and then on to Racine, Wisconsin.  They trio split forces as their workload continued to increase. Moses stayed to complete a project in Wisconsin while Graham and Young journeyed on to Hannibal, Missouri.  After Missouri, Graham and Young painted scenery for the Opera House in Decatur, Illinois. Like Moses and many other scenic artists, Young picked up additional income teaching art classes as a sideline. On July 27, 1883, the “Decatur Daily Republican” reported, “Mr. John H. Young, the watercolor artist of Chicago, has arrived in the city and will form a class on Thursday afternoon of this week for the purpose of giving instruction in making sketched from nature. Mr. Young may be found either at the opera house, where he is engaged in painting the new scenery, or at Drake’s Hotel. The artist will give lessons on Tuesday and Thursday afternoons of each week during his stay of four weeks in Decatur, Illinois (page 3). On July 28, 1883, the “Herald-Dispatch” of Decatur, Illinois described the scenic work by Graham and Young for the new opera house. The article reported, “L. L. Graham the scenic artist who has been engaged in this work for three weeks. He has been assisted by John H. Young of Chicago” (page 3). The pair also delivered scenery for Boyd’s Opera House in Omaha, Nebraska and the New Gillis Opera House in Kansas City, Missouri. Moses, Graham and Young all began working at the Sosman & Landis studio when Graham & Moses closed out their contracts that fall.

While working at Sosman & Landis, Moses and Young planned several sketching trips to gather source material and hone their artistic skills. Their first western sketching trip for was Colorado in 1884. They were accompanied by fellow scenic artists Hardesty Maratta and Ed Morange. None of the artists had ever seen the Rocky Mountains before, so their headed west toward Denver, Pike’s Peak and Breckenridge. Moses recounted a humourous tale about Young, writing, “About six o’clock the boys were all hungry. As our car was a buffet affair, I ordered tea and toast. The porter had a fine linen tablecloth, and when he brought in the tea and toast there were three very disgusted boys. Young said nothing but left the car and was gone about ten minutes, and then returned with a can of corn and a large link of Summer Sausage. It was fully two feet long. He flourished it over his head and said, loud enough for the whole car to hear, ‘Live and let live, that’s our motto.’ Of course, the passengers were amused, but the porter and cook was not. He rushed out for some paper, which he spread over his damask tablecloth to save it from the sausage grease. He warmed up our corn, so we finally got a meal. Our bag of canned goods was in the baggage car, so there was no chance of our suffering from hunger so long as Young stood in with the baggage man.”

Moses’ memoirs describe Young as a long-legged mischievous artist always ready for adventure and full of humor. Moses and Young continued to spend any time off from the studio sketching. Moses wrote, “I spent Sundays during the autumn months with Young at F. C. Bromely’s studio, painting in oil.  We both made some progress.”

In 1884, Moses wrote, “Henry C. Tryon came to the studio to work.  He enthused Young and I more than anyone ever had.  He was a pupil of Thos. Moran and James and William Hart and was very clever, but awfully eccentric.”  Moses and Tryon headed to West Virginia during the fall of 1885. Young joined the pair in Schell. All three roomed in the back of the post office and general store.  Moses wrote, “John Young joined us here and entered into the spirit of the outing. The evening of Young’s arrival we were all in the store.  Young was stretched out on the counter, with his head resting in the scoop of the scales, and Tryon, with his immense meerschaum, was hitting it up like an engine.”  The three spent their days traipsing across the countryside to find ideal sketching locations. Amidst artistic observations and animated political debates, the three worked on their craft. They descended to valley floors and crossed many creeks and rivers. Moses recalled, “Young, with his long legs could jump across from rock to rock.”

In 1886, Moses, Tryon and Young were three of six scenic artists featured in Chicago’s “Inter Ocean” newspaper. David A. Strong, Walter W. Burridge, and Charles H. Ritter were the other three scenic artists. At one time or another, all six artists worked for Sosman & Landis in the 1880s. The “Inter Ocean” article published on February 28, 1886, gave a brief bio for each artist. Of Young, the article noted, “J. Hendricks Young was born in Grand Rapids, Mich. in 1858, and early became an artist in fresco painting, dealing almost exclusively in Scriptural figure subjects. His experience as a scenic artist has been continuous since 1880. The leading merits and characteristics of Mr. Young’s art treatment are originality of conception and boldness, vigor, and expression of action in execution. He is now engaged in some of the best panorama work.”

Young was still living in Chicago and listed in the City Directory in both 1887 and 1888. At the time he was working at 12 S. Morgan and boarding at the Farwell House. By the end of 1888, however, Young had moved to New York and by 1889 was listed in the New Rochelle Directory as an New York artist working at 541 W. 21^st In the 1891-92 City Directory Young was listed as a scenic artist at 1445 B’way and living in Pelhamville, NY.

By 1891, Young’s studio was listed at the Broadway Theatre in New York. His artistic process is described in numerus article over the years. An article in the “Pittsburgh Dispatch” described his use of a pounce during the drawing process. He described, “I first lay off this charcoal sketch on paper. The charcoal rubs off. I stick small holes through the paper following the lines and, placing this sheet upon the canvas, take the ounce-bag of charcoal dust and slap it in the paper over the hole. When the sheet is removed we have an outline upon the canvas. This is followed with an indelible pencil, the lines of which will come out stringer when wet with paint. The painter can then go ahead. This is done where exact work is desirable, as it often is in architectural pieces”

In New York, Young  designed over 70 shows for Broadway, including “Babes in Toyland” (1903), “Forty-five minutes from Broadway” (1906), “Little Nemo” (1908), “Higgledy-Piggledy” (1905), “Ziegfield Follies” (1907,1908, and 1913) “Broadway to Paris” (1912), “Robinson Crusoe, Jr.” (1907, 1908, 1916), and “Sinbad” (1919).

Already in 1894, Young was noted as “the ingenious and artistic scene painter” for “On the Bowery” by R. N. Stephens. Young was applauded for painting a beautiful rendition of the Brooklyn Bridge. In 1895 Young designed and painted “Pawn Ticket 210” by David Belasco of the Broadway Theatre in New York. A stellar review was published in the “Detroit Free Press” on April 9 (page 5). In 1896, Young was credited with scenery for “Fortuna, or the Princess Tough,” commenting, “The scenery, it is said, is the richest and most elaborate ever seen at the Fountain and was painted by John H. Young, of the Fifth Avenue Theatre, New York” (The Commercial Gazette, Cincinnati, OH, 6 Feb 1896, page 15). By the fall of 1896, Young was associated with the Broadway Theatre in New York, with this association being cited in newspapers across the country (Los Angeles Herald, 20 Sept. 1896, page 11).

The next year Young designed and painted the “picturesque scenery” for Davis & Keogh’s production of “The Sidewalks of New York.” Newspaper reviews noted that it depicted “familiar localities, reproduced from photographs of the actual buildings and views by the hand of artist” (Detroit Free Press December 6, 1896, page 19). The article goes onto describe his contribution, “In the second act the New York Herald building is shown in accurate detail when enormous presses are at work, and the editorial staff is in active operation. The third act is laid in Brooklyn. This scene represents an old distillery and a shot tower by the East river.” Later newspaper reviews commented on Young’s “originality of conception and boldness, vigor, and expression of action in execution.” Young became well known for his artistic vision, picturesque painting and precision. His trademark was an attention to detail, one supported by an illustrative library kept at his studio. He also excelled in figure painting, the first quality that caused Moses to hire him in 1876.

On Dec. 17, 1899, Young was quoted in the “San Francisco Chronicle,” stating, “Figure painting is a branch of art in itself. It requires a long and tedious course of study and practice, including knowledge of anatomy that would qualify a man for a position as a staff surgeon in the Army, and the average scene painter, who has to handle all branches of painting can’t afford the time necessary to learn all this. Then too, it is practically impossible to paint figures than, in view of the varying positions taken by actors, will always be in proportion to the real personages on the stage. It’s bad enough when you paint an ancient oak, supposed to be big in proportion to its years, to have some ham of an actor lean up against it and make it look like a sapling; but worse with figures it would be infinitely worse” (page 12).

Young met up with Moses again in 1900 when as they both designed and painted scenes for “Quo Vadis.” While in New York, Moses and Young continued their sketching trips, now adding Harry A. Vincent to their group. In 1901, Moses wrote, “Every Sunday this summer I went sketching near home, and it was very picturesque.  John Young and Harry Vincent joined me quite often, as we all lived near the spot.” 

Moses moved to New York, operating Moses & Hamilton until 1904 when he returned to the Sosman & Landis studio. By 1902, Young’s studio was located at the Grand Opera House in New York City. On September 3, 1902, the “Buffalo Express” published a lengthy article about Young.  The article reported, “Mr. Young has been twelve years getting together a working outfit of 10,000 photographs and 800 books, which he values at $60,000. As recently as 1898 he sent $50 to each American consul in an out-of-the-way place and requested the purchase of photographs – photographs of palaces and of fisher huts, of glorious gardens and of desert beaches, of statuary and carving and paintings. Among his volumes are David Robert’s Door Designs, Boucher’s Cupids and many others now out of print, and generally forgotten…He almost always keeps armor, antique weapons, costumes and the like. From his vast store the painter extracted pictures from which to copy a rice field for the Chinese booth of the Woman’s Exhibitions, bazaar buildings at Cairo for the Egyptian booth, a café on the Ringstrasse at Vienna for the Austria booth, and so on, ad infinitum…The large number of models in Mr. Young’s studio is due to the fact that he keeps his miniatures as carefully as an accountant filed away papers. Not only is there a chance that he might be obliged to bring them into requisition again of fire destroys his work, or a duplicate of that work is desired, but they form an invaluable record. ‘These playthings,’ he declares, ‘are the plot of the story we tell, and according as the plot is accurate and elaborate so is the story atmospheric and pleasing. My principal study since I took up this art has been the development of ideas which crystalize into models – a feature of scene painting of which the public is wholly ignorant.” The article also noted, “The biggest contract Mr. Young has had since he became a scene painter is that with the Professional Woman’s League for the Woman’s Exhibition, and he has been pushing his entire staff nearly two months on the models to be submitted to Manager William A. Brady.”

In 1903, Young was living in Mount Vernon, listed as a N.Y. scenic artist living at 2^nd ave. near 2^nd, N.P. That year, Moses was also listed in the Mount Vernon Directory, living at 170 Elm Ave.

Early in 1904 he purchased the two-story frame house with a “shed on rear” at No. 536 West 29th Street.  On February 12 architect Arthur G. C. Fletcher filed plans for a “brick and concrete studio building” to cost $8,000. Completed within the year, double doors on the street level allowed the large scenic artworks to be transported from studio to stage. The building design included a great expanse of glass in the large arched fourth floor loft window, providing an abundance of northern light, perfect for painting scenery. In his 29^th street studio, Young created hundreds of maquettes. Young repeatedly explained that these small-scale designs were “a feature of scene painting of which the public is wholly ignorant.”  Young’s studio building was later used Eugene B. Dunkel Studios, another scenic firm. Neither Young now Dunkel would have ever guessed that in 2019, the 29^th street studio building would be listed for 18.5 million dollars (https://www.luxuo.com/properties/properties-featured/the-1904-john-h-young-building-is-now-on-sale-for-18-5-million.html).

In 1905, Moses and Young completed their last project together. They worked on old mill scenery at Luna Park for Frederick Thompson; Young did all the properties and papier-mâché work. Young isn’t mentioned again until 1922 in Moses’ reminiscing. That year, Moses wrote, “John H. Young was another assistant that made good in scenic painting, but never stuck to the picture end of it, as he started to make money in New York and that settled his picture ambitions, (if he ever had them very strong).  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.”

One of the best articles about Young is part of the John R. Rothgeb Papers at the Harry Ransom Center, University of Texas, Austin. It is a tattered photocopy, without any date or source, tucked between two unrelated files. The article is entitled, “How Scene Painting is Done in a Big Studio.” The subtitle that followed was, “John H Young Goes About His Work in Systematic Fashion and Gives Public an Idea of How His Difficult Work is Performed.” Here it is in its entirety.

“No scenic artist in this country enjoys a higher reputation than John H. Young of the Broadway Theatre. Hardly a play of any moment which has been produced in the metropolis has been written without evidence of his careful and skillful touch, and for the road attractions they bristle with the touches of his brush.

But Mr. Young’s position in his special line has not been reached without long and conscientious work dating back nearly a score of years. Born in the early 60s, Mr. Young soon gave signs of his artistic bent by turning his back upon the allurements of Michigan farming, and he was barely out of his teens before he was turning out pictures, which, though the evinced talent, were lacking in that technique which can only come from study and practice. About this time Mr. Young had the good fortune to come in contact with Thomas Moses, the veteran scenic artist of the West, and the latter was quick to see signs of talent in his young protégé.”

For several years Mr. Young worked in concert with his instructor and the scenes that he painted caused so wide comment, that in time he came to New York, where he could find a better field for his abilities. New York managers were quick to appreciate his efforts and thus came about that the subject of this sketch was installed as chief artist at the Broadway, which position he has held for more than seven years.

The average manager, when he has selected a play, has but seldom anything more than the vaguest idea of what he wants in the way of scenery to enhance it. It is just here that Mr. Young steps in and rescues the befuddled manager from the slough of theatrical despondence. He gets the main incidents of the author’s story and suggests the possibilities of scenic illustration. Oftentimes the manager who is to produce the play has ideas of the most impractical nature and Mr. Young shows him a hasty sketch of the utter folly of attempting to reproduce them. Provided Mr. Young and the manager come to an agreement, the decided-upon scenes are first done in watercolors, and these, when finished are subjected to another inspection by both artist and manager. Changes are suggested here and there, and sometimes even, the whole work is gone over, when it is found advisable. When the preliminary sketch is satisfactory, the next step is to transform into a miniature set scene, which duplicates down to the most trifling detail, the contemplates larger on for the actual performance. For this performance Mr. Young has in his studio, a small stage fitted with all the appurtenances which belong to the most complex of the regular stages; there are trap doors, wings, fly-galleries, a drop curtain, electric light, and a maze of small cords and fixtures for managing the whole.

If it be a mill scene, for instance, that is being arranged, the duplicate in miniature must have the revolving wheel, the running water, the sluice-box, and nothing whatever must be lacking. Very often when all is completed and in place on this trial stage, something of an impractical nature may be discovered and remedied, before the expense of the larger model is incurred. Theoretically many wonderful stage scenes may be all right, but the little trial stage prevents all failures and fiascos so far as the mere scenery is concerned. Of course, after this point is reached – the test on the trial stage – nothing remains but the putting of the scenes into the proper shape for the public. Time is the principal factor in this, and the more scenes and the more full of mechanical contrivance they are the longer it takes, Mr. Young has been most fortunate in overcoming the difficulties which put the mere spectacular plays beyond the abilities of many scenic artists. In “Under the Poplar Star,” for nicety of construction and naturalness of action, Mr. Young’s iceberg scene has seldom been equaled, and in all of his work there is the same evidence of thorough art, combined with a broad grasp of mechanical detail.

To the layman, scenic painting is somewhat of a mystery, and if he gives any thought to it at all it is doubtful if he realizes the high order of artistic ability which one must possess in order to faithfully deploy upon mammoth stage canvases the scenes which reflect the spirit of the play. Not only has one got to be an artist to begin with, but he must be a perfect jack-at-all trades in order to transfer his preliminary small sketch to a back drop measuring sometimes more than 100×40 feet; in the main, the small pattern picture is ruled off into squares, each of which is consecutively numbered. Similar squares, but on a much larger scale are then drawn upon the great canvas and the sketch is then “blocked in” square for square and number by number. As long as four months is needed on some of the more pretentious scenes, though about six weeks is the average for an ordinary scene. To enumerate the plays for which Mr. Young has painted scenes is no easy task, but among them may be mentioned, “The Highwayman,” “On the Bowery,” “Power of the Press,” “In Old Kentucky,” “Cumberland ’61,” “The Player,” “Pousee Café,” “Woman in Black,” “Under the City Lamps,” “Le Voyage de Susette,” “The Diamond Breaker,” “Monongahela,” “Trip to the Moon,” “Naval Cadet,” “Roaring Dick,” “La Falotte,” “Fallen Among Thieves,” “Polar Star,” “For the Crown,” “Lion Tamer,” “Across the Potomac,” “Power of Gold,” “Wang,” “Hamlet,” “Sidewalks of New York,” In addition, Mr. Young has painted many of the best drop curtains in the country, and as a water color artist he stands in the foremost rank. Nearly every exhibition of note is contributed to by him, and his work command a high price among discriminating purchasers.”

Young lived the remainder of his life in New York, eventually retiring from scenic art, but never giving up painting. Youngs’ obituary was brief, and simply stated: “JOHN H. YOUNG – In North Pelham, N.Y., 86; retired New York scenic artist; designed stage sets for shows managed by Florenz Ziegfied, David Belasco, Earl Carroll, George White and the Harrises.” (News Journal, Wilmington, Delaware, 5 Jan 1944. Page 13).

To be continued…

Examples of historic scenic art 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.

Copyright © 2021 by Wendy Waszut-Barrett

In 1883, Thomas G. Moses and Lemuel L. Graham were painting together as Graham & Moses. That year, they both returned to work for Sosman & Landis.

Lemuel Laken Graham was born on July 4, 1846, in Ann Arbor, Michigan. He was the son of the Rev. Daniel McBride Graham and Ursula Graham. Rev. Rev. Graham who purportedly placed Lemuel in a scenic art apprenticeship as a young age, yet Graham first appears in newspapers as a performer. Regardless of Graham’s introduction to the theatre, by 1870, L. L. Graham was touring with J. A. Lord’s Chicago Dramatic Co. Graham and playing the role of Sir Charles Marlowe in “She Stoop’s to Conquer.” By the fall of that year, Graham was performing in “Frou-Frou,” On November 22, 1870, the “Leavenworth Times” reported that Mary Graham was also part of the company. Elizabeth Martha “Mary” was Lem’s first wife. The two enjoyed a brief marriage and were divorced later that year.

On February 4, 1871, the “Junction City Weekly Union” mentioned Mr. L. L. Graham as personifying “Jem Dalton, the tiger.” The newspaper article reported that Graham “did it well,” adding, “He is a young man of talent, and we believe a true artiste.” On January 12, 1872, the “Daily Commonwealth” noted that Graham again appeared with Louie Lord’s Dramatic Company in their production of “Our American Cousin,” as well as a touring with the production “Buffalo Bill,” the production and not the performer. During the early 1870s that Graham transitioned from a performer to a scenic artist and worked at McVicker’s’ Theater in Chicago.

After Chicago, Graham traveled quite a bit, working in San Francisco, Cleveland, Memphis and New Orleans.

On May 14, 1875, the Van Wert Weekly in Ohio, reported “Mr. L. L. Graham, a scenic artist, is painting a number of scenes for Gilliland’s Opera House, and, also, a new drop curtain. The Union School building will be the central figure on the drop curtain, around which will appear the advertisements of a number of leading firms” (page 3).

On September 17, 1875, New Orleans’s “Times-Picayune” reported, “The Academy of Music, always first to open and last to close, has been entirely renovated, a new proscenium and ceiling put up, which is being decorated by Mr. L. L. Graham, the Academy’s scenic artist, who, by-the-by, showed us some fine specimens of his art during the last season, repainted all over, new carpets, and other modern improvements.”

On October 16, 1875, the “New Orleans Republican” reported that L. L. Graham painted the drop curtain for Bidwell’s Academy of Music, “representing Tasso at the Court of Ferrara. Graham’s new drop was to be “unrolled for the first time.” By December 26, 1875, the “New Orleans Republican” mentioned Graham again in connection with the Academy of Music’s scenic attributes: “The truly sublime piece of scenery in the transformation scene is the handiwork of Mr. L. L. Graham, the skillful artist, who gets up some very grand effects, and it riveted the gaze of the spellbound audience.”

On Jan 20, 1876, the “Times-Picayune” credited Graham with painting the scenery for “Dead to the World” at the Academy of Music, reporting “The play will be ornamented with new scenery from the brush of Mr. L. L. Graham, whose handiwork has ere now received its need of popular applause.” Graham remained associated with the Academy of Music until the late 1870s when he returned to Chicago and worked with Henry C. Tryon. In 1876 Graham also partnered with Tryon to deliver a new drop curtain and stock scenery to an opera house in South Bend, Indiana. An article in the “South Bend Tribune” on August 9, 1876, reported, “L. L. Graham of the Academy of Music in New Orleans, La., and Henry C. Tryon, of McVicker’s Theater of Chicago, scenic artists, are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others.” This seems to be a turning point for Graham as he becomes increasingly connected with the Chicago theatre scene.

By 1881, Graham was working at the Academy of Music in Chicago. It is at the Academy that Moses secures a part-time position painting with Graham. This is in addition to Moses’ working on staff at Sosman & Moses. In fact, Moses is the first employee that Joseph Sosman hires and the two go on the road, completing one project after another contracted by Perry Landis. Upon each return to Chicago, Moses seeks additional employment, including that with Graham at the Academy of Music. There are two other things to consider at this time. The first is that Moses likely met Graham at McVicker’s, as each worked for Lou Malmsha by the late 1870s. The second thing to consider is that Moses’ younger sister was part of the stock company at the Academy of Music when Graham was painting there in 1881.

By 1882 Graham was also known as the scenic artist for Chicago’s Standard Theatre. Moses worked for Graham at both locations. That same year, the two partnered and establish the scenic studio of Graham & Moses. Of the partnership, Moses wrote, “We got together and I quit the firm after refusing a big salary – that is, for me. Our first contract was at Kalamazoo, Michigan. The Academy of Music. We worked night and day. I did all the foliage and I was astonished on seeing my stuff set, to see how I improved.” Kalamazoo’s Academy of Music was a 1250-seat opera house located on South Rose Street. After Kalamazoo, Moses and Graham completed a project in Grand Rapids, Michigan for Redmond’s Opera House, also built in 1882 and later known as the Grand Opera House.

While in town, Moses wrote that Graham fell in love with the head waitress at his boarding house. The two were married two years later on November 20, 1884. The Kalamazoo waitress was Elizabeth “Lizzie” West (b. 1860). Of Graham’s new wife, Moses wrote, “she proved to be a good wife and good mother.” The Grahams celebrated the birth of three children, Rachel (b. 1884), Ethel (b. 1892) and Revard Parker (b. 1895). Lizzie was actually Graham’s third wife. His first marriage to the actress Mary Graham ended in divorce by 1870. The original divorce decree was destroyed in the Great Chicago Fire, prompting that another be reissued before Graham’s marriage to Lizzie. On April 17, 1884, the “Inter Ocean” reported, “Martha Elizabeth Graham of Cumberland, Maine, filed a petition in the Circuit Court yesterday for the restoration of a decree of divorce. The decree was rendered against her on November 30, 1870, in the Circuit Court of Cook Country in favor of Lemuel L. Graham and was destroyed by the great Chicago fire.” On April 17, 1884, the Inter Ocean announced new suits in the circuit court reporting, “48.111 – Lemuel L. Graham vs. Elizabeth Graham. Bill to restore decree of divorce.” Confirmation of Graham’s divorce from his first wife was necessary as Graham planned his fall marriage to Lizzie. What’s interesting is that Graham also divorced his second wife just before his third marriage too. In 1884 Lemuel L. Graham severed marital ties with his second wife, Nellie H. Graham. The divorce was reported in the San Francisco Examiner. On October 28, 1884, the announcement stated, “Judge Maguire has granted Nellie H. Graham a divorce from Lemuel L. Graham, willful neglect and desertion.”

From 1882 to 1883, Moses & Graham completed several projects throughout the Midwest. In 1882, they journeyed to Elgin, Illinois, after completing scenery for the Kalamazoo and Grand Rapids opera houses. In Elgin, scenic artist John H. Young joined the pair to paint. Moses had previously worked with Young as a decorative painter on several Michigan projects. Young later settled in New York and became one of the top Broadway designers during the first two decades of the twentieth century. The next 1882 project for Moses, Graham and Young was located in Racine, Wisconsin. They painted stock scenery for the Black Opera House. By this point, Moses wrote, “Graham and I were doing much better now, and we had two good jobs at the same time. He was a regular Shylock, a good fellow and a hard worker, but altogether too close to please me.”

As the workload increased for Moses & Graham, the two founders focused on separate jobs, with Moses remaining in Racine while Graham and Young departed for Hannibal, Missouri. Graham and Young were painting at the Opera House in Decatur, Illinois by the summer of 1883. On July 28, 1883, The Saturday Herald reported, “L. L. Graham, the scenic artist, has been engaged in this work for three weeks. He has been assisted by John H. Young, of Chicago. Mr. Graham has had 17 years of experience in this line of painting. He and his assistant left last night for Chicago, whence they go to do the same kind of work at Boyd’s Opera House in Omaha, and finally the New Gillis Opera house in Kansas City.”In 1883, Moses ventured to Oshkosh, Wisconsin. Both Moses & Graham and Sosman & Landis were also competing for the same project. Moses wrote, “I met Mr. Landis there. I got the contract. We rode to Chicago together and met Mr. Sosman on our arrival. We were offered $45.00 a week. I wired Graham at Burlington. He answered $50.00 and extras. We closed for that. I had Oshkosh to finish, which I did and May 1st found Graham, Young and myself back on Clark Street at the Sosman and Landis Studio.” Graham only remained at Sosman & Landis for a year. In 1884 he left to partner with William P. Davis in Kansas City, Missouri. Davis was also a former Sosman & Landis employee, having worked as Moses’ assistant.

The new firm of Graham & Davis became an affiliate of the Sosman & Landis Studio, effectively managing a regional branch for the Chicago firm, referred to as the Kansas City Scenic Co. The regional branch for Sosman & Landis in Kansas City did not require any listing in the Kansas City newspaper, or any regional advertisements. To do so would have placed them in competition with Graham and Davis’ firm. Sosman & Landis simply needed an address and potential studio space for the increasing project load associated with the western region. The larger firm relied on western subcontractors and scenic contracts that were completed in studios other than their main Chicago space. Even in Chicago, Sosman & Landis managed several annex spaces to complete an ever-increasing project load.

In Kansas City, Graham & Davis lasted for less than two years, when Davis withdrew and returned to Chicago. Although business was booming in Kansas City, projects were more lucrative in large metropolitan areas. This is why Graham would also leave Kansas City and venture east a few years after Davis. In 1887, Davis was listed in the Chicago Directory, living at 850 W. Madison and working as a scenic artist, associated with the Auditorium Theatre and Grand Opera House. Davis later moved to Minneapolis where he became one of three founders of the Twin City Scenic Co. Graham maintained his relationship with Sosman & Landis, representing the Chicago firm in 1887 when they subcontracted Graham to deliver scenery to the opera house in Winfield, Kansas.

On October 19, 1887, the “Daily Tribune” reported, “There were several firms competing for the work, but the contract was let to Sosman & Landis of Chicago, New York and Kansas City. Their representative Mr. L. L. Graham who is in charge of the Kansas City branch had a miniature stage in which he showed the various scenes and explained in detail of the workings of the scenes.” Graham also represented Sosman & Landis for their work at the Bonham Opera House in Clay Center, Kansas, that year. On April 21, 1887, “The Times” of Clay Center reported, “The scenery was painted by Sosman & Landis, of Chicago. The same firm that fitted the Gillis Opera House, Kansas City, and the Grand at Topeka. Mr. Hagan is their western machinist, and also does the same work for L. L. Graham of Kansas City.”

There were three main scenic studios in the Midwest by the turn of the twentieth century – the Twin Cities Scenic Co. (Minnesota), Sosman & Landis (Illinois), and The Kansas City Scenic Co. (Missouri). The three formed a triumvirate with agreed jurisdictions, allowing each to quickly dominate a region. They frequently shared artists and subcontracted projects to one another Sosman & Landis also established a regional office in New York by 1887. Scenic art relationships established a network of studios and their affiliates, preventing smaller firms and outsiders to get a foothold in the region during the late-nineteenth century and early-twentieth century. A network of affiliates allowed studios to offer services and products at a rate that few single competitors could match. In 1887, Graham was again listed as a scenic artist in the Kansas City Directory. Graham’s studio was listed 525 Main, with Graham rooming at 517 E. Missouri Ave. by 1888, Moses visited Graham in Kansas City, writing, “He was doing well.” Indeed, Graham was doing very well and maintaining close connections with Sosman & Landis in Chicago.

The 1888 Kansas City Directory included a few of Graham’s employees, artists associated with the firm of “Lemuel L. Graham.” Benjamin F. Dunn was listed as a scenic artist, employed by Graham that year. Graham’s business was thriving. His studio was included in the 1888 publication, “Industries of Kansas City: Historical, Descriptive, and Statistical.”Here is Graham’s listing:“L. L. Graham. Scenic Artist, Contractor for Stage Equipment, Theatre Hardware,Frame Work, Canvas, Traps, Bridges and Every Necessary Equipment of First Class Theatres, 525 & 527 Main Street.Mr. L. L. Graham is a prominent representative of the scenic art in Kansas City, having established this business here four years ago in conjunction with Mr. Davis, who withdrew from the firm some two years since. Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years. His first experience in the school of art was had at McVicker’s’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans. His establishment here is eligibly located at 525-527 Main Street, and consists of a studio and shops fitted up with every essential appliance and convenience for the correct and expeditious execution of the work, which comprises high art stage scenery and equipment, rich and elegant stage curtains, stage properties of every description, theatrical hardware, framework, canvas, traps, bridges, etc. One special feature of Mr. Graham’s industry is his advertising drop curtain, which is richly draped on the top and sides with royal crimson and heavy bullion fringes and pendants gracefully falling on steps painted at bottom of curtain. In the center is a large and artistically painted picture in stucco frame, which is surrounded by a border of deep Prussian blue, divided into spaces for the insertion of business cards. The cards may be lettered in a becoming and artistic style in bright gold, the whole having a brilliant and pleasing effect. There are usually from eighteen to twenty of these spaces of varying sizes to suit the advertiser as to the amount he desires to pay. Full particulars concerning this feature will be furnished by mail, upon application, to theatre managers, hall proprietors and others interested as well as any other information appertaining to stage equipment and carpentry. Mr. Graham has executed stage work for some fifty or sixty houses in Nebraska, notably at Omaha and Lincoln, etc., and for forty-five different houses in Kansas, including Winfield, Wichita and Anthony, and in St. Joe, Hannibal, Springfield and many others in Missouri. As many as thirty-six men in his employ upon an average weekly pay roll of $500.00, Mr. Graham giving his personal attention to every detail of this most intricate work. Contracts were made for Priests of Pallas and trades displays and pageants in Kansas.”

Thirty-six men in Graham’s scenic studio is comparable to that of Sosman & Landis in Chicago at the same time. However, Graham did not remain in Kansas, heading east.“Industries of Kansas City: Historical, Descriptive, and Statistical” also included an interesting comment about scenic studios during this period, noting “Such industries as the one under special notice [L. L. Graham], are among the necessary concomitants of a rapidly developing metropolitan community, indicating that spirit of enterprise that caters to refined taste and social enjoyment.” In other words, a town transitions into a metropolitan area when it can support not only a theatre, but also theatrical manufacturers. This says a lot about the size and scope of scenic concerns in the 1880s, as well as their reflection on the performing arts. Graham soon moved east and partnered with L. J. Couch (1838 – 1909) by 1896. Little is known of their partnership, but it ended badly. On January 9, 1896, Graham and Couch were listed in the Boston Globe under the heading “Business Troubles.” Of their failing scenic studio, the newspaper announced, “L. J. Couch and Lemuel L. Graham, doing business at 384 West 1st St, South Boston, under the firm of Levi Couch & Co., scenic painters, have been petitioned into insolvency by Edmund G. Pond, creditor.” Before Graham, L. J. Couch & Co. was operated by Couch and David Richards. Richards remained with the firm from 1893 to 1895. Graham was likely Richard’s replacement near the end. As with Graham’s firm in Kansas City, L. J. Couch & Co. offered a wide range of theatrical goods, ranging from painted scenery and theatrical hardware, to general stage appliances.

After L. J. Couch & Company was dissolved, Graham partnered with P. Dodd Ackerman, another well-known scenic artist and designer who made quite a name for himself. Graham and Ackerman’s studio was initially located in Brooklyn’s Broadway Theater. On August 13, 1902, the Brooklyn Daily Eagle reported that Graham and P. D. Ackerman took a mortgage with John C. Sceneck at Bushwick Ave. for $3900.” Their new address was now 1576-1580 Bushwick Ave. Unfortunately for Graham, this partnership also failed. In the end, Graham partnered with his son Revard and founded L. L. Graham and Son, also known as Graham & Son. Their firm was located at Crosby Avenue in Brooklyn, New York. Graham remained in Brooklyn, New York, until his passing in 1914.

There remains one extant drop credited to L. L. Graham & Son. It is located at the Grange Hall in Denmark, Maine.Graham passed away after a brief illness on Sunday, December 27, 1914. He was only 68 years old when he died at his home.

On December 29, 1914, the Brooklyn Daily Times published Graham’s obituary: Lemuel Laken Graham, died Sunday from heart failure after a long illness at his home. 3 Miller avenue, on the border line of Queens Borough, near Highland Park. Mr. Graham had a studio building on Crosby avenue, near his home, for ten years, funeral services will be held to-night with internment in Evergreens cemetery. Mr. Graham was known from coast to coast among theatrical men and had traveled in every State in the Union in his time. His work was known in most of the principal cities. He was born in Ann Harbor, Mich., July 4, sixty-eight years ago, the son of the Rev. Daniel McBride Graham, a Baptiste [sic.] clergyman and the president of Hillsdale College, Mich., and Ursula Graham. His father apprenticed him to the scene painting business in his youth and he early achieved fame in his chose calling. He was associated with Sosman and Landis of Chicago, for some years and painted the curtain for the Chicago Auditorium. Later he was a partner of L. J. Couch, of Boston, and in his studio, there turned out some of the best known to stageland. While at Kansas City for a number of years, Mr. Graham was in charge of the great annual event there, the priest of Pallas parade, and created all of the floats and scenes used in the carnival. Mr. Graham and P. Dodd Ackerman did the decorations for the Broadway Theatre here, and he painted several curtains and numerous elaborate settings for Manhattan theatres. Mr. Graham taught scene painting for years and some of the most skillful scenic artists in the country were his pupils. Of late years he confined his work to the creation of smaller scenes and he had a reputation for clever organizations. He leaves his wife, Elizabeth West Graham; a son Revard Parker Graham, a scenic artist, and a daughter, Mrs. Fermin Ferrer, of Laurelton, L. I.”LikeCommentShare

Copyright © 2021 by Wendy Waszut-Barrett

Thomas G. Moses was the first scenic artist hired by Sosman & Landis in 1880.

That year, Sosman & Landis were the only firm listed in the “Artists (scenic)” of the Chicago City Directory. There were many others listed under the section “Artists”, but none that specified “scenic art;” this set Sosman & Landis apart from any other competitor in 1880, especially for smaller communities who looked toward the larger cities for goods and services. Their individual listing presented a great marketing opportunity for the young firm.

Moses left Sosman & Landis for the first time two years later, He wrote “1882 found me just as restless to do something big, and I drifted along with the regular work, until about May.” When the theatre season closed in 1882, Moses partnered with Lemuel L. Graham (1845-1914). At the time, Graham was working as the scenic artist at the Standard Theatre in Chicago. Graham & Moses’ projects included the Academy of Music in Kalamazoo, Michigan; Redmond’s Opera House in Grand Rapids, Michigan; Blake Opera House and Belle City Opera House in Racine, Wisconsin; the Opera House in Marengo, Illinois; and the Grand Opera House in Eau Claire, Wisconsin. Moses and Graham soon added John H. Young to their force, and they were able to work at multiple locations simultaneously. Sosman & Landis recognized that they were landing enough projects to form a threat, especially as Moses understood his former employer’s approach and bidding process.  They soon found themselves bidding on the same project in Oshkosh, Wisconsin.

In 1883, Thomas G. Moses wrote, “I went to Oshkosh, Wisconsin, after a contract.  I met Mr. Landis there.  I got the contract.  We rode to Chicago together and met Mr. Sosman on our arrival.  We were offered $45.00 a week.  I wired Graham at Burlington.  He answered $50.00 and extras.  We closed for that.”

This caused a bit of trouble in Oshkosh. On April 4, 1883, the “Oshkosh Northwestern” published an article entitled, “The Opera House Scenery Contract.” It reported, “Graham & Moses who were awarded the contract for furnishing curtains, scenery and stage settings for the Opera House have notified that they withdrew their bid and decline the contract. On receipt of this also comes a notification from Sosman & Landis, also bids on the job to the effect that they have employed Graham & Moses in their establishment and asking that the contract be awarded them in accordance with their bod. It appears that there were only two bide in for the work, that of Graham & Moses and one from Sosman & Lands. The latter’s bid was about $700 larger than that of Graham & Moses, and, now it would seem the two firms have fixed it up so as to try and have the contract awarded at a greater amount. The directors are now talking of giving the contract to other parties entirely and not letting either of those firms get a finger in it” (page 4).

Moses completed the project in Oshkosh and then headed back to the Sosman & Landis studio in Chicago. Of the transition wrote, “I had Oshkosh to finish, which I did and May 1^st found Graham, Young and myself back on Clark Street at the Sosman and Landis Studio.  I averaged $70.00 per week, as we had a lot of night work, mostly piece work.  We had to do all the road work which I didn’t like.  Ed Loitz joined the force this year.” This meant that Sosman was painting in the main studio, and the six artists were sent out on the road. By the spring of 1883, Soman & Landis employed a scenic art force of six scenic artists: Henry C. Burrow, Harry J. Buhler, Thomas G. Moses, Lemuel L. Graham, John H. Young and Edward Loitz.  Of the six, Loitz likely entered as an apprentice, and would remain Moses’ right-hand-man for the next few decades.

Of scenic art salaries in the early 1880s, they varied greatly. Initially, Moses’ salary increased from $18.00 to $20.00 per week during the spring of 1881. Keep in mind that between the summer of 1881 and 1882, the firm delivered scenery to seventy-four venues to nineteen states and three territories. Moses left to make more money. When Sosman asked Moses to return, he more than doubled his salary. In the end, Moses’ salary at Sosman & Landis increased from $18.00/week in 1881 to $50.00/week in 1883. Profits were so great in the early 1880s that Sosman & Landis were able to build a $50,000 studio by 1886. That is the today’s equivalent of a $1,400,000 structure. $50,000 was much more than many towns were spending to build an opera house in 1886.

To be continued…

Examples of historic scenic art 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.