Author: waszut_barrett@me.com

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.

Copyright © 2021 by Wendy Waszut-Barrett

H. C. Barrows was a scenic artist, salesman and architect.  He worked for the Sosman & Landis Company from 1883-1886. Projects that Barrows completed for Sosman & Landis included Scheurman’s Opera House in Griffin, Georgia; the Taylor Opera House in Jefferson,Texas;  Ghio’s Opera Hall in Texarkana, Texas; the Capital Opera House in Little Rock, Arkansas; Pine Bluff Opera House in Pine Bluff, Arkansas;  the Fort Smith Academy of Music in Fort Smith Amrkansas; the Van Buren Theater in Arkansas, a School Hall stage in Salem, Illinois; a City Hall stage in Frederick, Maryland; Springer Opera House in Columbus, Georgia and the Opera House in Vicksburg, Mississippi.

I have located precious little information about Barrow beyond newspaper notifications that announced his arrival in town and stage work.  Fortunately, one article provided a first name – Henry. Unfortunately, there were quite a few Henry C. Barrows over the course of a century. 

The H. C. Barrow that I am tracking often cited his permanent residence as Chicago, yet he is not listed in the city directories. This is puzzling for me, as I am frequently able to find scenic artists and architects in at least one directory.  I also found it interesting that by 1884, Burrows becomes identified as a “scenic agent.” This is the first time I have encountered the term “scenic agent,” although it makes sense for someone selling stage scenery. It was not a common nineteenth-century term.

The earliest mention of Burrows in any newspaper that I have located is from 1881. This is before he began representing Sosman & Landis in 1883. On Dec. 2, 1881, H. C. Barrow was working with J. G. Reynolds at the Opera House in Americus, Georgia.  The “Americus Weekly Sumter Republican” reported, “Work is progressing rapidly in this edifice. The ceiling overhead is being raised some ten to fifteen feet so as to perfect acoustics. Messrs. J. G. Reynolds and H. C. Barrow of Chicago, have the job for painting the scenery, curtains, &c., and are now in the city and at work. Mr. Reynolds, the artist, uses his brushes and pencils with ease and rapidly and is producing some splendid work. He painted the scenery for De Give’s Atlanta, and many other Opera houses, and has the reputation of being the best scenic painter in the country. When his work is finished it will be a treat for the lovers of good pictures to look at it” (page 3). This phrasing of this article is common for the time when crediting a scenic artist and his assistant. In this case, Barrow is the assistant to Reynolds. By 1882, Barrows was on his own and credited as a scenic artist with experience.

On July 8, 1882, “The Times” in Thomasville, Georgia, reported, “We are to have a respectable stage, fixtures, scenery &c. in the City Hall. Mr. H. C. Barrows a scenic artist of large experience in matters of this kind, has been given the contract by the council. This will be most welcome news to every citizen in the town” (Page 5).

On October 11, 1882, The Atlanta Constitution announced, “Mr. H. C. Barrows, representing Sosman & Landis, scenic artists of Chicago, put in Scheurman’s opera house a new and beautiful advertising drop curtain. The work on this curtain is nicely executed and presents a fine appearance. In the centre is a very handsome southern landscape scene, and around the border is decorated with 14 nicely arranged business cards representing different firms in the city. This curtain does not interfere with the regular drop curtain, but can be used as a change at intervals during entertainment. Its cost is about one hundred and fifty or seventy-five dollars and may be classed strictly as both useful and ornamental” (p. 2).

By 1883 Barrow represented the firm of Sosman & Landis, This was the same year that Harry J. Buhler was also working as a scenic artist in the studio. By the end of the year, Moses returned and brought Lemuel L. Graham with him.

On March 6, 1883, the “Tri-Weekly Herald” in Marshall, Texas, reported, “Mr. H. C. Barrow with Sosman & Landis’s scenic studio, of Chicago, Ill., is here and will soon refit our opera house with a full set of scenery and a new drop curtain with the advertisements of our leading business firms painted thereon” (page 3). Two months later, the work was completed by Barrows and the town was thrilled with the quality of the scenery. On May 1, 1883, the “Tri-Weekly Herald” in Marshall, Texas, reported “Mr. H. C. Barrow, scenic artist from Chicago, has just completed for the Taylor Opera House, in Jefferson, one of the handsomest stages and stage scenery to be found in Texas. There are fifteen fitted scenes in all, embracing two beautiful curtains, ten regular scenes, and a garden wall, balustrades, &c. Mr. B. has also done some beautiful frescoing on the Proscenium front. In company with a number of Jefferson gentlemen we visited the Taylor hall yesterday morning, all of whom were delighted with the work. It cannot be excelled in artistic finish, completeness, and excellence of prospective, equaling the best scenery in the large cities. Mr. Barrow has just completed Ghio’s Opera Hall, at Texarkana, and is likely to capture every place he goes to where stage scenery is required. We repeat: there has been nothing like it in  Texas before Mr. B’s advent” (page  2). It was reprinted in the Marshall Messenger on May 1.

By Aug. 12, 1883, Little Rock’s “Daily Arkansas Gazette” reported, “The Capital Opera House is to have a new drop curtain immediately. The scene represented upon it is that grand old conception of the Roman chariot race, and when completed will be one of the finest in the state. H. C. Barrow, representing Sosman & Landis, of Chicago, at whose studio the work is being done, is in the city, and states that he also has orders for the curtain for the Pine Bluff Opera House, the Fort Smith Academy of Music, the Van Buren theater and Ghio’s at Texarkana.” For context, Hyde’s Capital Opera House in Little Rock began as Torrey’s Opera House, changing its name that May. The building underwent renovation throughout the month of June and opened in July, hence the need for new scenery.

By 1880, Barrow transitioned from solely working as a scenic artist and installer to scenic agent and architect.

On May 19, 1884, the “Fort Worth Daily Gazette” reported, “Messrs. Henry C. Barrow, opera house architect and contractor, of Dallas and B. A. Aldrich, stage agent of the Rock Island Plow company, of the same city, were in the Fort last night and paid the GAZETTE a pleasant visit” (page 8). On June 3, 1884, the “Galveston Daily News” announced, “H. C. Barrow, scenic agent of Chicago, is in the city, and gave THE NEWS a call yesterday. He comes to put in a bid for refitting the opera house.” On August 20, 1884, the “Dallas Herald” announced, “Henry C. Barrow, scenic agent and opera-house architect and contractor, is in the city” (page 4).

Barrows was still representing Sosman & Landis, but possibly as a regional affiliate with his own studio.  In 1884, Lem L. Graham became the regional representative in Kansas City, Missouri and another regional branch was opened in New York.  Having a third regional branch would have been brilliant.

On July 10, 1884, “The Vicksburg Herald” in Mississippi, reported, “Mr. Henry C. Barrow, scenic artist, representing the big scenery house of Sosman & Landis, of Cincinnati, arrived here yesterday, to contract with Messrs. Piazza & Botto, proprietors of the opera-house, for a new set of scenery for that building. That year the Dallas City Directory listed Barrow as a scenic agent, residing at 845 San Jacinto cor Leonard. On Dec. 11, 1885, the “Salem Herald-Advocate” reported, “H. C. Barrow, with Sosman & Landis, scenic artist, Chicago, was in our city Tuesday and Wednesday, looking at School Hall stage and making plans for improvements…The Chicago House will send a man here to put up the scenery up, and it will be completed by Jan.  1^st. the scenery bought is very elegant, costing $300.00”

By 1886, Barrows was back in Chicago. This was the last years, that I would find anything about Barrows in the newspaper. On Aug. 11, 1886, “The News” of Frederick, Maryland, reported, “Aldermanic – Mr. H. C. Barrows of Chicago, scenic artist, will arrive in this city this evening to confer with Aldermanic committee on scenery and building in reference to the contemplated improvements at City Hall.” (page 3). Barrow stayed at the Carlin House while in town (The News, Frederick, Maryland, Aug. 11, 1886).

As I narrowed my research and looked at the various Henry C. Barrows. One caught my attention. Born in 1849, he was working as an architect in 1910. Although his parents were born in Maryland, Barrow was born in England. His return to England may explain his sudden disappearance form US newspapers.

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

Harry J. Buhler was a scenic artist who worked at Sosman & Landis during the nineteenth-century, c. 1883 – 1891. The first mention that I have located of Buhler representing the firm was from 1883. That year he painted and installed scenery at the Myers Opera House in Janesville, Wisconsin.

Buhler arrived in Janesville in October, with the “Janesville Daily Gazette” announcing “New Scenery at Myers Opera House.”  On October 23, 1883, the newspaper reported, “Mr. H. J. Buhler, of Sosman & Landis scenic studio, Chicago, arrived in the city yesterday afternoon to begin the work of painting the scenery for Myers Opera House…There has been great improvement made of late in stage decorations, and standing at the front of artists in this line are Sosman & Landis. They have within the past year or so painted scenery for many of the largest theaters in the west” (page 4). Of the Sosman & Landis scenic artist, the article continued,” Mr. Buhler, who has been commissioned to do the work, is an artist of rare skill in the line. The decorations in many of the principal opera houses in the west are by his brush. He thoroughly understands the tendency of modern art as applied to the scenic department and will do some excellent work. It will take him about two weeks to complete the work and will be engaged both day and night.”

On Nov. 12, 1883, the “Janesville Daily Gazette” described his work in detail, reporting,

“Mr. H. J. Buhler, from the scenic studio of Sosman & Landis, Chicago, who has been engaged in painting new scenery for Myers opera house for more than two weeks past, will finish the work on Wednesday of this week. To-morrow evening Mr. Buhler will arrange different stage settings which will show the general characters of the work done by him. This will be done for the accommodation of the press of the city.

“Among the pieces executed by Mr. Buhler are two tormentor doors and two tormentor wings, and a grand drapery border 12 feet wide and 25 feet long. The scenes include a kitchen set, a plain chamber set, a prison set, and a handsome box parlor set of modern Eastlake ebony comprising two pairs of flats and four wings, and borders to match. It is one of the finest sets to be found in any theater or opera house in this state, and is beautifully decorated with bric-a-brac armor, plaques, and so on. There is also a Louis 14^th gothic set which is also very beautiful. The landscape paintings embrace a country landscape; a dark wood scene; a rocky pass taken from the Yellowstone park; a garden set, including a garden backing, a set house, vases, and balustrade. There is also an ancient scene taken from Strasburg, and is, in all respects, a very effective scene. One of the finest scenes among the large collection which ornaments the stage of the opera house, is an ocean set, which is a splendid piece of marine painting.

“Very many of these sets and scenes will be used for the first time on Thursday night when Miss Anna Dickinson will produce Anne Boleyn. Mr. Buhler has kindly consented to remain here that night and arrange the scenery for the play. A new drop curtain, a very elegant one, costing not less than $200, has been ordered by Mr. Myers, and will be painted in Chicago. There is now four times more scenery in Myers opera house than ever before, and aside from the quantity, in artistic merit it is not excelled by that of any other opera house in Wisconsin. New gas-burner lights have also been put in above the stage, and also new rope which will greatly facilitate the changing of the scenery during the presentation of the play.

“Messrs. Sosman & Landis have a wide reputation as scenic painters, and have decorated many of the leading theaters and opera houses in the west; and they have served Mr. Myers well and have done the public a good service, by sending Mr. Buhler here to furnish the opera house with new scenery. He is a thorough artist, and having made scenery a specialty for years, he was in every particular fully competent for the task. He is a rapid workman and a genius in his line. The public will be surprised on Thursday evening to learn the great quantity of fine scenery he has turned out in so short a time. Every single piece is a credit to the artist, and a great advantage to the open house” (page 4).

On November 14, 1883, the “Janesville Daily Gazette” included another lengthy article describing each of the scene painted by Buhler.  Of the scenic artist the article praised,

“Mr. Buhler has added considerable to his already wide reputation as an artist by the excellent work he has done for Mr. Myers. Messrs. Sosman & Landis are to be thanked for delegating Mr. Buhler to do the work, and the theatregoers of Janesville are under deep obligations to Mr. Myers for his enterprise in having the work done. We wish to state in connection with this notice of the new scenery that Mr. Buhler prepared the stage settings for Anna Dickinson’s first performance of Hamlet in New York, and for his skill and taste in doing the work he was highly complimented by that distinguished lady.”

Buhler’s first name varies in newspaper articles and other historical records over the years. Buhler was identified as H. J. Buhler, J. Harry Buhler, Harry Buhler and Henry Buhler; they were all the same individual.

Buhler was born in 1853, the second child of recently-arrived German immigrants Wilhelm Bühler (1818- ?)and Carolina Lorey (1830-1907). His parents were married in Speyer, Bayern, Germany, on August 28, 1845, and emigrated separately to the United States between, 1848 and 1849. Wilhelm arrived in Feb. 5, 1848 in New York Harbor, with Carolina and their daughter Anna F. (b. 1847) following in 1849.

Harry was born in New York City before the family continued on west.  As the country expanded westward, new construction provided ample opportunity for employment. Little is known of Buhler’s early training, or exactly how he was introduced to the theatre trade. However, in 1870, the Federal Census places Henry J. Buhler in Little Rock, Arkansas. At eighteen years old, he had already painting a variety of projects in the area,  living with another artist, Arthur W. Drewry, at a boarding house. Like most itinerant artists at the time, he completed a variety of painting projects that included sign painting, carriage painting and easel art exhibits. He soon partnered with another scenic artist named “Akin” to paint an advertisement drop for Little Rock’s theater hall. The two placed an advertisement in the “Arkansas Daily Gazette” on Nov. 4,  1870: “MERCHANTS TAKE NOTICE – That there are only a few card spaces left on the curtain painted for the theatre hall. All wishing a card should apply, signed Buhler & Akin” (, page 4).

By 1872, Buhler moved to Memphis, Tennessee. That spring he became the stage manager for the newly formed Memphis Amateur Dramatic Company. This meant that he was responsible for all of the backstage duties and all scenic contributions for various productions.  By the fall he was painting at both the Memphis Theatre and Olympic Theatre in Memphis. At the Olympic Theatre, he was listed as “H. J. Buhler, Esq.” Buhler’s transformation scenes for “The Black Crook” received favorable reviews in the “Public Ledger” on October 17, 1872 (page 2). He also worked at the Memphis Theatre, first touched up the well-known drop curtain entitled the “Voyage of Life.” He was then engaged as an assistant to scenic artist Adam Walthew. Walthew became a well-known artist in both New York and Detroit, who passed away in 1886.

In 1879, Buhler was still painting the Memphis Theatre and was credited for providing the new drop curtain, replacing the one he previously touched up. On April 18, 1879, he “Memphis Evening Herald” reported, “New and elegant drop-curtain by Buhler. Magnificent new scenery and appointments, properties, flags, etc., etc., painted expressly for this opera [H. M. S. Pinafore] by Buhler” (18 April 1879, page 4).

Although, Buhler was living in Memphis, he was still traveling as an itinerant scenic artist and completing projects across the country. Work brought him to Illinois by 1878. That year Buhler was working at the opera house in Paxton, Illinois, and was credited with nursing the Flack family back to health after a disastrous incident. At the time, he was identified as “the scenic painter at the theatre” (The Weekly Standard, Paxton, Illinois, 5 Oct. 1878, page 3).

At the same time that Sosman & Landis were starting up their scenic studio in Chicago, Buhler got married. On July 12, 1879, “The Memphis Herald” announced “Last night Mr. Henry J. Buhler, the well-known scenic artist was married to Miss Alice C. Garrett, daughter of S. S. Garrett. The wedding took place at the residence of Capt. Garrett. 382 Vance street, and the ceremony was performed by  Rev. S. Landrum.” The 1880 census records that Harry and Carry were living with the in-laws – Sirus and Sarah Garrett. At the time, Buhler was listed as an artist and Garrett at a boat inspector. The couple soon moved and were living in Chicago by the early 1880s, living at 295 Wabash. In 1885, Buhler was also listed in the Scene Painters Show (see past post 13: https://drypigment.net2017/06/29/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-131/). This was an event that solidified the network of many Midwestern scenic artists, particularly those working for Sosman & Landis.

In 1887, Buhler joined the Order of Chosen Friend (a fraternal benefit order), and was active as a trustee for the Apollo Council No. 29 in Chicago. In 1888, Buhler was also listed in the “Minneapolis Directory” working at the Pence Opera House and boarding at 224 Hennepin Ave.

His permanent residence was in Chicago at this time,  where he and Carrie began a family, celebrating the birth of two children in: Blanch W. Buhler (b. Sept 1888) and Edgar Garrett Buhler (b. Sept. 1, 1892).  

By the 1890s, Buhler continued to filter in and out of the Sosman & Landis studio, working on a variety of projects for them throughout the region. Thomas G. Moses later mentioned working with Buhler on the Temple Theatre in Duluth, Minnesota, for Sosman & Landis in 1891. Moses, Buhler and Joe Hart were  credited for their scenic contributions in the “Duluth Evening Herald” on July 11, 1891. In 1892, Buhler was mention in the “Chicago Sunday Tribune” article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” – “H. J. Buhler is another artist whose interiors are excellent examples of careful drawing, in which projection and shadow are most skillfully handled.”(Dec 18, 1892, page 41). Like other Sosman & Landis artists, he sporadically left to form a partnership; work was quite plentiful.

In 1897, Buhler was working with A. L. Lamphear at Havlin’s Theatre. However, he was  also painting with artist Henry Asper, Buhler and Asper delivered ceremonial scenery for the Knights of Khorassan at the Al Hathim Masonic Temple (Inter Ocean, 24 Oct. 1897, page 16). Everything was going quite well when tragedy struck.

            At the end of 1898 Buhler lost all of his business supplies in a fire at the Lincoln Theatre on North Clark Street. Previously known as the Windsor, it was renamed the Lincoln after it was partially destroyed by another fire and rebuilt a decade earlier. On Dec. 6, 1898. The “Chicago Tribune” reported, “H. J. Buhler, the scene painter, had his collection of models and a library destroyed, with no insurance.”  This suggests that Buhler ‘s own scenic studio was at the Lincoln Theatre. Interestingly, the 1898 Chicago City Directory listed the Buhler family as residing at 636 North Clark Street in Chicago in 1898; they were still residing there at the time in 1900.

The 1900 Federal Census listed the Buhler household as  including Harry, his wife and two children as well as his Mother, Caroline Buhler (1830-1907), and sister, Annie Chapman. Hermania Atwood, aged 33 yrs. old, was also living there and listed as a “daughter” – his sister though. I have yet to find anything about the passing of his father beyond the fact that he mother and Anna previously resided in Portland, Oregon.

Julius Cahn’s Official Theatrical Guide of 1899 listed Buhler as the scenic artist who delivered stock scenery to Chicago’s Alhambra Theatre, New Lincoln Theatre and New Lyric Theatre. In addition to working for other studios, Buhler established at least three partnerships throughout the duration of his career: Buhler & Mann with William Fletcher Mann (1851-1926); Buhler & Peltz with Herman Peltz, Sr. (1869-1908); and Buhler, Peltz & Carsen with Robert Carsen (1876-1958).

By the turn of the twentieth century, Buhler partnered with William Fletcher Mann with the two delivering scenery for several productions between 1904 and 1907. In 1906, however, Buhler was identified as a scenic artist at the Criterion Theatre in Chicago. At the Criterion he worked directly for scenic designer Lincoln J. Carter. Carter’s models translated to the stage by master machinist Herman Peltz and scenic artist Buhler. Buhler continues to work with both Peltz and Mann for the next few years, but struggles with his health. He moved south to Arizona for health reasons in 1907.

By 1909, Buhler and Peltz begin to work with Robert P. Carsen, establishing the Buhler, Peltz and Carsen Studio in Chicago. They continued to work with Mann, although Mann transitioned to a producer.

In 1910, the Buhlers are still living in Chicago, and then them seem to disappear.  For whatever reason, I can find no mention of Harry, Carry or their son after 1910.

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.

Sosman & Landis Scene Painting Studio was founded by Joseph S. Sosman and Perry Landis in Chicago by 1879. Prior to establishing a permanent home studio, the two traveled the country as itinerant scenic artists. After setting up their establishment on S. Clark Street in the Windy City, Sosman & Landis began an aggressive marketing campaign, advertising mail order scenery. They posted advertisements in various cities and stated that they would ship scenery anywhere in the country. For this business model to succeed, they needed to employ other individuals who would travel as company representatives; the two founders could not be in all places at once. That is where Perry’s younger brother Frank fits into the history.

Picture of Frank Landis posted at ancestry.com

In 1879 Frank was representing the firm in Kansas. He may have worked longer for the company, had he not settled down and began working for their father as a jeweler in Rushville, Indiana. It has taken me thirty years to track down the Landis family history. Without online research tools available at my fingertips, it would be nigh be impossible to piece this particular family tale together. Here is a brief summary of the family history that places Perry and Frank in within the family.

Frank and Perry were two of twelve children born to Henry H. Landis (1809-1893) and Catherine Johnston Landis (1817-1902). The couple was married on Oct. 6, 1831, in Franklin, Indiana. You can trace the Landis family’s movement by the birth locale of each child; it is still a bit confusing as they did not settle in any one place for long but shifted between Ohio and Iowa. In no particular order, their homes included: Franklin, Ohio; Clifty, Ohio; Rushville, Indiana, Steady Run, Iowa, Steady Run, Iowa; and Fairfield, Iowa.

In the decade following the Civil War, the children scattered like seeds in the wind, establishing homes across the country, including in Ohio, Iowa, Illinois, Indiana, Colorado, California and Oregon. By the 1890s, the majority of the family gathered in Chicago and became quite successful.

The twelve Landis children included: Mary (1833-1860, born in Indiana), John A. (1835-1915, born in Xenia, Ohio), David J. (1839-1863, born in Ohio), Jacob H. (1841-1911, born in Ohio), Joseph (1844-1936, born in Fairfield, Iowa), Infant daughter (1846-1846, no information beyond the dates), Julia Ann (1847-1847, no information beyond dates), Perry (1848-1905, born in Clifty, Indiana), James Henry (1851-1860, born in Indiana), Edgar (1852-1914, born in Indiana), Franklin (1856-1923, born in Fairfield, Iowa), Charles (1858-1923, born in Iowa).

When the eldest daughter, Mary, came of age, the Landis family was living Steady Run, Iowa. She married Robert Marshall and continued to live on a farm in Steady Run with her husband. She died only five years later in 1861. Mary was the fourth of the twelve children to pass away by this time, with her older brother David dying from injuries sustained during the Civil War in 1863. Five of the Landis boys joined the Union Army between 1862 and 1864. Edgar, Frank and Charles were too young to serve during the war.

John Landis was the first to enlist at the age of 27 on June 6, 1862. He was a Captain in the 1^st Calvalry, Co. D in the 18^th Regiment, Iowa Infantry. John received a Captains commission after capturing a Rebel flag during the Battle of Blackwater in Missouri. He was wounded severely in Springfield, Missouri, on Jan. 8, 1863, and was mustered out on Feb. 28, 1863. John moved west and spent the remainder of his life in Oregon.

David also was injured during battle in Springfield, Missouri, and died from complications after returning home. He was 24 yrs. old and living in Martinsburg, Iowa, when he enlisted with the Union Army on Aug. 15, 1862. David was mustered out on August 23, 1862, as a Private in the 18^th Regiment, Iowa Infantry. He was injured in battle on Jan. 8, 1863, and severely wounded on May 8, 1863. After being discharged, he returned home and passed away by the end of the year from complications.

Perry Landis enlisted in the Union Army in Layfayette, Indiana and was mustered August 12, 1863. He mustered out a second time out on March 1, 1864. Landis served as a private in Co. F of the 166^th Regiment, Indiana Infantry.  His future business partner, Joseph S Sosman, enlisted on May 8, 1864, and served as a private in Company C of the 149^th Regiment, Ohio Infantry, for 100 days.

Jacob Landis enlisted on May 14, 1864, and was mustered out that same day as a private with Company K of the 131^st Infantry, Ohio. He was mustered out a second time on Aug. 25, 1864, Camp Chase, Ohio. After the war, Jacob returned to work on the family farm before marrying and moving west to California.

Joseph Landis registered for military service along with his brothers David and Jacob in in Steady Run, Iowa. However, I have yet to locate any specifics about his military service. The same is true for Joseph Landis.

            Before the Civil War began, the Landis family was living in Steady Run, Iowa. Steady Run is due north of Fairfield, Iowa. After the war, the family had moved back to Indiana and were living in Connersville. The 1870 Federal Census still listed the family living on a farm and selling produce throughout the region. That year Perry was also living in Connersville with his family. On September 21, 1870, The Connersville Examiner listed Perry Landis in the “Fruits” section as selling the “best and greatest variety of grapes.” It was this trade that he continued when headed west to Denver by 1871.

Frank also made the newspaper a few times selling produce, finding tarantula spiders in with banana shipments, and so forth. By 1877 the Landis family moved a few miles west to Rushville, Indiana. That year, Frank began courting his future wife in Liberty, Indiana. Liberty was 28 miles due east of Rushville, with Connersville being half-way between the two. After one visit to Liberty, the “Rushville Weekly Republican” republished an announcement that originally appeared in the “Liberty Herald.” On May 17, 1877, the “Liberty Herald” announced, “Frank Landis, of Rushville, spent the Sabbath in town. Cause – female attraction.” Nothing quite like nineteenth-century social media where everyone knew your business and all of your comings and goings.

            1879 is the year that changes everything for Frank. He does not work for Sosman & Landis long; life changes and he changed professions. Frank married Emeline “Emma” Danser of Liberty on January 1, 1880. Instead of moving to Chicago, he takes over command of his father’s jewelry business.

The jewelry store surprised me, as up until this point the Landis family were farmers and sold produce; or so I thought. Sometime between 1870 and 1879, Henry H. Landis began operating a jewelry store in Rushville. Even at the time of his passing in  1893 (Chicago), he was listed as a silversmith. Previous to this point, Henry H. Landis was consistently listed as a farmer. In 1880, the jewelry and watch establishment formerly known as H. H. Landis & Son, became Landis and Danser.  I think the original “son” in H. H. Landis & Son was Frank’s old brother Joseph or Jacob. Joseph moved to Liberty in the post-war years and became engaged in the jewelry business there. He remained in the area until the 1890s when he moved to Chicago and began working with Perry Landis and Joe Sosman, establishing the American Reflector and Light Co. Frank, Joseph, Charles, Perry and their parents were all living in Chicago by the 1890s. However, Jacob also worked as a silversmith and jeweler in California, first living in Paskenta, California (1880) and later in Red Bluff, California.

As for Frank and the jewelry business… in 1880 he became the new owner of his father’s jewelry store, although his father stayed on to continued watch repair. Immediately after marrying Emma Danser, Frank partnered with his new brother-in-law, Leander “Lee” Danser. H. H. Landis & Son. Became Landis & Danser; Henry H. Landis sold his portion of the business to Lee. In 1880, Emma and Frank celebrate the birth of a son – Hugh H. Danser. Emma became gravely ill and died soon after their first anniversary. Frank remarried by 1882, and his second wife was Tillie Winship. Frank married Miss Mathilda “Tillie” Winship on Oct. 3, 1882.

Until marrying Frank, Tillie took care of her father, Jabez L. Winship, a retired farmer in the area.  At the time, Jabez was sixty-five years old and had buried three wives. Tillie was the youngest of his children. I think Frank was Tillie’s escape from spending the remainder of her father’s life in servitude. When Jabez passed away in 1884, his will was very specific that his youngest daughter was to receive nothing, writing, “Jabez L. Winship divides his estate between his 4 adult children: Susan Loag of Wabash County, IN; Jesse Winship, Joseph S. Winship and Benjamin Winship of Rush county. I have given to my youngest daughter Tillie Landis, formerly Tillie Winship, her full share of my estate. It is my express will that she have no more of my estate.”

By 1885, Frank, Tillie and Hugh were living in Little Walnut, Kansas, where Frank is listed as a front agent. They don’t stay in Kansas for long, and soon move to Chicago.  In 1887, Frank became involved in real estate, and that is was he made a fortune. All of the Landis brothers do extremely well in the beginning.

Frank and Joseph end up moving to Oak Park; this is also where Thomas G. Moses lives until his passing in 1934. In 1908 the “Oak Park Directory” listed Franklin Landis as a broker in the real estate industry. At this same time, Joseph is still running the American Reflector & Lighting Co. with Sosman. The two brothers end up living on South Oak Park, at 215 and 221

Frank Landis passed away on Dec. 27, 1923 in Oak Park, Illinois at the age of 67. He was buried in the family plot in Rushville,

His passing was announced in the Rushville newspaper:

“Franklin Landis Succumbs

Former Rushville Jewelry Dealer Expires in Oak Park, Chicago. Franklin Landis, of Oak Park, Chicago, uncle of Mrs. Jeanette Carr and Mrs. Frank Reynolds, of this city, died at six o’clock this morning following a short illness. He was a former resident of this city, having been engaged in the jewelry business with his father Henry H. Landis, at the place where the Abercrombie Jewelry store is not located. The deceased was a brother of Charles Landis, who died November 23, at his home in Lagrange, Ill. He is also survived by his wife, who was formerly Miss Mathilda Winship. No definite word has been received here of the funeral arrangements, but it is believed that the body will be brought here for burial.”

More information was provided after Frank’s funeral:

“Franklin Landis.

Funeral services for the late Franklin Landis were conducted last Saturday afternoon at 3 o’clock at his residence, 215 South Oak Park avenue, Rev. R. E. Vale officiating. Burial was at Rushville, Ind. Mr. Landis suffered a stroke of paralyses in March, 1918, while he partially recovered and sought relief in warm climates, he never fully regained his health. About two weeks ago he was subjected to a complication which his weak heart was unable to withstand. His condition was aggravated by grief over the death of his youngest brother a month previous. Mr. Landis was born in Fairfield, Iowa, in 1856 and came to Chicago in 1888, He was a land broker, his judgement being taken as authoritative and sound. As recently as last April he made a trip to inspect some large holdings and it was on that trip that he suffered a complete breakdown. Mr. and Mrs. Landis moved to Oak Park in 1903. Mr Landis was fond of nature and especially flowers. Besides Mrs. Landis, one brother, Joseph Landis, 221 south Pak Park avenue, survives.

Tillie went on to live until 1948, remaining a very wealthy woman.  Upon her passing she donated $1,000 to the cemetery so that her grave would always be tended. On Feb 26, 1948, the “Rushville Republican” reported, “$1,000 Bequest Given Cemetery…The East Hill Cemetery Association was included in the bequest of $1,000, in the estate of Tillie J. Landis, former resident, who died Feb 6 in Oak Park, Ill…The estate was reported to be quite large. The $1,000 granted to the local cemetery is to be in trust in perpetuity, and the earnings to be used in keeping in good condition the lots and monument thereon in which are interred the remains of her husband. Also included in the will is the sum of $500 to Ruby Riley Dixon, a former resident, who also is given two fur coats of the deceased. The will distributed large sums of money, jewelry and real estate to several persons in the Chicago area.”

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

Today’s post was to be about Frank Landis, Perry Landis’ younger brother. He was the first individual to represent Sosman & Landis beyond the two founders. However, you need a little backstory first to see where he fits into the picture, or nothing else about the studio history and staff will make sense.

On June 27, 1891, “The Dramatic Mirror” published an interview with Perry Landis of the Sosman & Landis Scene Painting Studio. The article described the first meeting between Joseph S. Sosman and Perry Landis: “Thirteen years ago Perry Landis was twenty-nine years of age, and in that happy condition known as ‘out of a job.’ With the exception of a few stray dollars in his pocket, Mr. Landis was practically on his uppers when he met Mr. Sosman in Ohio by accident. Mr. Sosman was a year older than himself, and the two young men became friendly and finally chummed it” (page 8).

This story is a little suspect, as it places the year of their meeting in 1878. That may have been the year they decided to open a scenic studio in Chicago, but it was not the year they met nor the first year they began working together. By 1876 the two were traveling companions and crisscrossing the country. In fact, twice that year they visited Landis’ former hometown in Fairfield, Iowa. On June 11, 1876, the “Fairfield Ledger” reported “Perry Landis and J. S. Sosman spent a few days in the city last week.”

The Landis family traveled quite a bit during the 1860s and 1870s. The patriarch, Henry H. Landis, hauled his family back and forth between Indiana and Iowa a few times.  Both of Landis’ younger brothers were born in Iowa.  In fact, Frank Landis was born in Fairfield, Iowa. By 1871 Perry Landis moved west to Colorado. He lived in Denver between 1872 and 1875, frequently returning to Fairfield to visit friends. He even submitted articles to the “Fairfield Ledger” about the history of Denver and nearby sites. It was likely on one of his return trips to Fairfield in 1875 that he met Sosman. In 1875, Sosman was working in Fairfield, painting scenery for Semon’s Opera House. It is important to understand that 1875 was only two years after Sosman began his career as scenic artist. His first theatre job was in the spring of 1873 when he assisted T. B. Harrison, an itinerant artist from Chicago. Harrison and Sosman  painted scenery for the new Chandler’s Opera House in Macomb, Illinois. On April 17, 1873, the Macomb Journal reported that young “Joe” Sosman was assisting T. B. Harrison, of Chicago. Sosman was hired to mix paints and assist with various aspects of the painting process. Hehad some experience with basic painting, doing a little work as a sign painter. In 1873 Sosman was 28 years old, had served in the Union army during the Civil War, and moved from Chillicothe, Ohio, to Macomb, Illinois. He was unusually old to become a scenic art assistant. Most successful scenic artists began their careers by16 years old, if not earlier. That being said, there is no doubt that he was a gifted artist. Unfortunately, his lack of early training at an academy or in the theater would always put him at odds with artists who were trained at an early age. As I look at the success of Sosman & Landis, I cannot help but wonder if their rise to the top stemmed from the fact that scenic art remained a business for both men and not a passion.

On October 14, 1875, the “Fairfield Ledger”described Sosman’s work at Semon’s Opera House. The article reported, “The scenery was painted by Mr. J. S. Sosman, of McComb, Ills. [sic.], and bears evidence of the work of a master painter, and a man skilled in his profession.” After a lengthy description of Sosman’s scenic contributions, the article concluded “The painting is a great credit to the artist and all pronounce Mr. Sosman a painter of ability.”

Until the two established their first studio in Chicago, they were constantly on the road, with both men painting. Sosman always led the artistic end of the business and was listed as the senior partner for the firm. Landis also assisted with the art end in the beginning, but soon focused on sales.  On February 6, 1878, the “WilmingtonJournal” published an article from the “LebabonGazette.” The article reported, “Messrs W. H. Rannells, Robert McMillan and Perry Landis were here [in Lebanon] from Wilmington, on Wednesday last, for the purpose of looking through the new hall. Mr. Landis is a scenic artist of rare accomplishments and is engaged at present in ornamenting  the hall at Wilmington. These gentlemen expressed themselves well pleased with the grand outside, and exterior arrangments of our hall.”  Rannells and McMillan were local Wilmington businessmen; Landis was the itinerant artist. This newspaper announcement suggests that Sosman & Landis had enough work at this time that they needed to work on separate locations.

Interestingly, after a decade with the firm, Landis’ role with was defined in an 1891 article for the “New York Dramatic Mirror.”  The article reported:

“Landis did not know anything about the painting part, but he took charge of the business while Sosman wielded the brushes. Perhaps there were never two partners who worked so many years in such harmony.”

What remains curious is why public records continued to list Landis’ occupation as a scenic artist. Even his obituary credited Landis an artist.  On Dec. 13, 1905, the “Newark Advocate” announced:

“WELL KNOWN ARTIST.

Perry Landis Junior Member of Chicago Firm, Dies After Three Years’ Illness.

Chicago, Dec. 13. – Perry Landis, well-known artist and clubman, died at his home in Evanston following an illness of more than three years’ duration. Mr. Landis, who was born in  Clifty, Ind., 55 years ago, was a junior member of the firm of Sosman & Landis, and was well known among artists all over the United States.”

And yet, on Dec. 16, 1905, the “Evanston Press” announced, “Mr. Landis was not an artist, as has been stated elsewhere, but was a member of the firm Sosman & Landis, which owned and controlled a scenic studio on Clinton Street, Chicago.”  This is odd, especially since the Evanston City Directory had repeatedly listed Landis’ occupation as a scenic artist. It made me wonder if this correction came from the Landis family, particularly the businessmen. It is possible that the role of “businessman” may have carried much more importance than that of “artist.”

Regardless of Landis’ artistic abilities, he eventually became responsible for company sales and other administrative tasks. He was the consummate salesman and networker that helped make the firm a success. His previous employment as a news agent worked well with the firm’s aggressive marketing campaign. Throughout the 1880s, Landis traveled from town to town, securing one contract after another. Sosman followed Landis, close on his heels with an assistant, completing each job. Just as Sosman needed help with painting, Landis needed help with sales. In fact, the first sales assistant was hired before the first scenic art assistant. Frank Landis was working for the firm as a salesman by 1879. Thomas G. Moses was hired to assist Sosman on various painting projects in 1880. Soon, there were two crews of salesmen and scenic artists; they continued to multiply. The staff increased throughout the remainder of the nineteenth-century.

In 1879, Sosman and Landis selected Chicago for their permanent offices and studio. They rented space at 277 and 279 South Clark Street by May, likely seeing the rental advertisement in the “Chicago Tribune” that month. Here was the ad in the rental section:

“TO RENT. The large store No. 279 South Clark-st. , northeast corner Van Buren; has been a Clothing Store for 15 years. Apply to Isaac Marks, 277 So. Clark.”

By May 17, 1879, Sosman & Landis published their first advertisement in the “Chicago Tribune” with the new address. Their listing advertised:

“Scenery for Halls – and elegant landscape drop curtain – only $30; a parlor scene, $18; wood scene, $18; street scene, $18; kitchen scene, $15; prison scene, $15, all new and first-class, suitable for small halls or amateur societies. Can be shipped to any part of the country. SOSMAN & LANDIS, 277 and 279 South Clark -st., Chicago.”

This advertisement was the beginning of an aggressive marketing plan. They immediately began painting and shipping scenery throughout the country. To make this work, they needed to rapidly market a product and get a salesman on the road. This is where Frank Landis comes into the picture.  On August 16, 1879. The “Atchison Daily Patriot” reported, “Frank Landis, representing the firm of Sosman & Landis, is in Atchison [Kansas]” (page 4). Frank was covering the western region while his older brother focused on the easter region.

To be continued…