Author: waszut_barrett@me.com

Copyright © 2020 by Wendy Waszut-Barrett

In September 2020, I led a group of volunteers at the Tabor Opera House to document nineteenth-century wings, shutters, borders and set pieces in the attic. After my visit, I began examining each piece in detail, creating condition reports, historical analyses, replacement appraisals, and a collections care management document. There are at least twelve theatre collections, with scenic artifacts divided by artist and/or period.
This project is similar to receiving a big bag of puzzle pieces, containing an unknown number of puzzles with no other information. There are no box tops that show you the completed picture, but you need to somehow assemble each of the puzzles. By the way, not all of the pieces are original, and some may have been altered over the years.

There are so many moving parts, creators and timelines, that some days the projects is a bit overwhelming and I have to step away; allowing the information to process. When I return a few hours later, something becomes a little more clear.

Such was the case with pieces from the pink interior setting. Of the set, I catalogued only two wings and a remnant this fall. The construction of the two wings is on par with other pieces built from 1879-1881. The painting, however, appears to be the work of T. Frank Cox, dating from 1887-1888. Each wing is also double-sided, with a palace interior on the reverse. The palace composition was painted in the 1890s, combining several wings from a variety of settings. However, a fabric remnant shows that the backside of the original fabric was a prison setting, now hidden between the two layers of fabric. The pink setting fabric is rough cotton sheeting from Boott Mills, whereas the second layer of fabric on the reverse side is standard drillings from Stark Mills.

However, high above the attic floor there are two more pieces, currently inaccessible and stored in a makeshift loft. They were placed there before additional joists and wiring went in, so we could not remove them this fall due to a limited amount of time. The two additional wings are leaning against the same wall that is above the proscenium arch in the attic. This wall divides the attic from a space that was once hotel rooms and the gridiron and stage machinery above the stage. I climbed the ladder to the grid and we assembled a makeshift walkway over the open joists to reach the pile. I could only take a of few photos of the piles, as nothing could be shifted at the time. Too much dirt would have floated down upon the project below, and we really needed to construct a temporary floor. There were two pieces from the pink interior setting visible in the pile; one being a door wing. Other pieces included shutters, rollers, windows, and other set pieces.
As I compiled the various condition reports about the pink setting yesterday, I noticed a slight pattern in the pink; it was an underlying composition. Altering the detail and contrast of the image once it was in grayscale, helped me identify what was painted below, and then I added a few lines to help others identify the painted panels.

For more information about other Tabor Opera House scenery, scenic artists and stage carpenters, visit www.drypigment.net and use the keyword search function.

Copyright © 2020 by Wendy Waszut-Barrett

At the beginning of 1922 Thomas G. Moses was working in Tacoma, painting scenery for the Scottish Rite. Of the project, he wrote, “Harry Naile showed up the latter part of February.  We then started to get things into the Temple and it began to look like a job.  I did a picture of Jerusalem for the asbestos curtain, and it came out very good…On the completion of our contract and on the eve of our departure, the trustees gave us a dinner in our honor, which was attended by Harry Naile, it was very fine – we certainly felt honored….completed our work on April 1^st, got all settled and with Naile and the Madam, we started south.  Enjoyed the trip very much; had two days in San Francisco, then took the boat for Stockton.  On our arrival, we found the large hotel was laboring under the delusion of war rates.  So, we found a small apartment, very nicely furnished, and we certainly enjoyed it.  Naile had good accommodations at a small hotel.” Moses and Naile were traveling from one project to another. This had remained the standard practice at Sosman & Landis from the beginning; a scenic artist and carpenter were paired for most on site projects.  Occasionally, if a job required more hands, a second scenic artists was sent on site. For Moses, this was frequently Ed Loitz. However, stage carpenter’s such as Naile also filled in as the primary scenic artist’s assistant after the construction was completed and a second set of hands was needed on site. This speaks to the versatility of the Sosman & Landis stage carpenters at the time.

Harry Elmore Naile worked as a carpenter and assistant to Moses from 1922-1925. I have yet to determine how long he worked at Sosman & Landis in that capacity, but he was repeatedly mentioned in Moses Memoirs at this time. Projects in addition to the Tacoma Scottish Rite completed by Naile included the Binghamton Scottish Rite (1923) and the Pasadena Scottish Rite (1925). In Binghamton, it was Moses, Loitz and Naile. Of the project, Moses wrote, “I got settled  at the Marion Hotel, Loitz and Naile got quarters up near the Temple.” Basically, Moses showed up to painter, while Loitz and Naile prepared everything for his arrival. Moses had specifically asked to work with Naile in 1923. In regard to the Binghamton project, he wrote, “I insisted on having Naile on the job, so Hunt allowed me to send for him.  He and Mrs. Naile arrived on the 1^st of October and we then proceeded to get things going.” 

For larger projects, local labor was added as needed. So, in Binghamton, Naile hired a crew. You see, Moses was painting a variety of scenery at the Binghamton Scottish Rite, including drops destined for Eldorado and Wichita. Of this group, Moses wrote, “Naile and his men are not giving me full service and I am getting desperate, as to my ability to pull the contract through with profit.”   

Born on June 15, 1879, he was the son of Mary Elizabeth Orr (1854-1900) and Louis Phillip Naile (1855-1918); one of four children born to the couple. His siblings were Roy (1886-?), Grace (1891-?), and Ralph ( 1897-1958).  His father was a house carpenter who later remarried after the death of his first, so there is also a half-sister, Loretta (1908-?).

Harry grew up in Pierceton, Indiana. He met and married Georgia E. Robinson (b. 28 Jan. 1888) 1907. Georgia was the only child of William W. Robinson (1863-1926) and Mary A. “Mamie” Rogers (1869-1954), born in Kansas. Her father was a painter, and likely the link that connected Harry and Georgia. On June 1, 1907, the couple tied the knot in Colorado Springs, with Edgar W. Work performing the ceremony. He was twenty-seven years old at the time, and Georgia was only nineteen years old. Interesting fact: Colorado required the grooms to be over 21 years old when applying for a marriage license, but the brides needed to be only eighteen years old.  Regardless, the couple spent much of their marriage apart, with Harry lodging in various hotels and boarding houses for work. The 1913 Polk County directory listed “Naile, Harry E. (Georgia), removed to Chicago, Illinois.

His 1918 draft registration card listed Harry as the stage mechanic for the Chateau Theatre at 3810 Broadway in Chicago, living at 514 E. 42^nd Street. His was described at 5’-7” tall, with a slender build and blue eyes. Interestingly, no hair color was listed; the first omission that I have encountered to date.

In 1920, he was lodging with several theatrical performers at 57 East Van Buren Street in South Town Chicago. I have yet to track down where Georgia was living at this time, or if she returned to stay with her parents when he was on the road. The couple had no children, so it was not as if she needed to stay in any one place for long. When opportunity presented itself, she also traveled with her husband, such as to Binghamton, New York.

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

After the Pasadena Scottish Rite project, Moses and Nail worked in San Jose. Of the project, Moses wrote, “I started for San Jose on March 27^th and found Naile had everything in good shape.” They then worked in Los Angeles on the Fullerton job. That was the last mention of Naile in Moses’ memoirs, and I have located no mention of Naile in the newspapers during the remainder of the decade.

By 1930, Naile was living at the Kenomore Beach Hotel, 552 Kenmore Avenue, in Chicago. The 1930 US Federal Census listed Naile as a superintendent for a theatrical supply company, although it remains unclear as to which firm. He died shortly after the US Federal census recorded his employment.

Naile passed away on September 15, 1930. He was only fifty years old at the time and had been married to Georgia for twenty-three years. I have yet to locate any death notice or obituary, giving any cause for his passing.

Georgia was left a widow at forty-six years old and never remarried. She lost her father only four years earlier. Her mother also lived a long life, remaining a widow for almost three decades. I believe that Georgia returned to Colorado Springs where she lived with her mother.  Georgia was a widow for forty-five years.

Of Georgia’s own passing the “Gazette Telegraph” in Colorado Springs reported, “Naile- Mrs. Georgia Naile, 2612 W. Cucharras, passed away Tuesday at a local nursing home. Arrangements later”  (12 March 1975, page 4).

Both Georgia and Harry are buried in Colorado Springs’ Evergreen Cemetery.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Thomas G. Moses was working in Tacoma, Washington, by mid-March 1922. He had formed many friends in the area, including a group of contractors known as the Signcraft.

Moses wrote, “I met five members of the Signcraft, and we met every Wednesday at the Olympus Restaurant, where, with a fine luncheon we passed away an hour very nicely.  The five contractors were, Cliff, Jedlick, Kanabe, Browning and Sharpe.  On receipt of a wire informing me of the fire near our studio, I took five small watercolors to the luncheon, and started a stunt with “Boys, you know of the fire in Chicago, which has nearly put us out of business.  I have got to raise some money.  I don’t want to borrow money on such a short acquaintance, so I have brought over five small watercolors which I want you to buy.”  The price was asked, and I said, “While I need money very badly, I will make a sacrifice of the pictures, I want five cents apiece.”  The boys saw I was getting a little out of it, and a handful of silver was on the table.  I picked out a quarter and handed it to the waiter telling him that this was his commission.  The boys then drew numbers from a hat for their selection of pictures and in a few days they were all framed.”

The main studio for Sosman & Landis was located at 417-419 S. Clinton Street.

On March 15, 1922, the “Chicago Tribune” announced, “A four-story building from 401-13 South Clinton street caught fire at 3:30 this morning, bursting into flames from a dozen points. The building is occupied by the Poster Advertising company and about fifteen other minor concerns.”

The article continued, “Fire between 1 and 3 o’clock this morning wiped out the entire block of buildings in the square surrounded by Jackson boulevard, Van Buren street and Canal and Clinton streets. It swept across Clinton street and practically destroyed the Burlington railway’s twenty-one story office building. It paralyzed elevated and streetcar traffic in the vicinity, and caused the death of one fireman. Many bystanders suffered minor hurts from falling debris. The loss, according to early estimates by the fire chief, will exceed $10,000,000. Fire Attorney High makes the loss from $10,000,000 to $15,000,000. Among the structures destroyed by the fire, aside from the ‘fireproof’ Burlington skyscraper, were the Atlantic and Austin buildings, extending from 300 to 318 South Canal street. These two buildings were the most valuable property in the square which was the principal scene of the fire…Insufficiency of water supply prevented the work of more than a score of fire companies in holding the flames to their original source, though almost the entire department was called out.” The Austin Building was at 307 South Clinton Street.  

Later newspaper reports described,  “Thomas Galvin, watchman for the Austin building, discovered the fire. He said it started in the Art Shade works at 312 Clinton Street and quickly spread to the Austin building.” Regardless of where the fire originated, the damage was perilously close to the scenic studio, and caused work delays.

A list of damaged and destroyed businesses was published in the Chicago Tribune; Sosman & Landis was not included in the list. Businesses near the damaged area took out ads in the newspaper, announcing that their companies were “Not affected by Fire” (Chicago Tribune, 17 March 1922, page 4). This certainly indicates the extent of the damage.

Unbelievably, a second fire swept through the same area only two weeks later. It destroyed the three upper floors of an eight-story building at 128 South Clinton street (Chicago Tribune, 31 March 1922, page 6). This was only two blocks away from where the earlier fire occurred that month.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

James H. Cragg was the manager for the Tabor Opera House in Leadville, Colorado, from 1882 until 1894. During his twelve years there, Cragg implemented a series of improvements throughout the building that included the stage area. He thoroughly understood the stage needs of touring productions, having previously managed companies before his move to Leadville. When the Tabor Opera House was purchased and remodeled by the Elks in 1902, the “Herald Democrat” recalled Cragg’s early changes to the theater, noting, “The old opera house was known as a ‘flat hall’ until Col. ‘Jim’ Cragg took charge of it in 1881. He had the seats raised and other more modern improvements made. Col. Cragg managed the house as long as it remained in the possession of Mr. Tabor.” Actually, Cragg was not hired as the Tabor Opera House manager until the spring of 1882, but he remained associated with the venue until 1894.

Cragg was a man of many talents, both as a performer and an artist. He received his earliest musical training at home in Louisville, Kentucky, and entered the music profession under the tutelage of his father, Thomas P. Cragg. The elder Cragg was a music merchant, dealing in musical instruments and other accessories. James was the middle child of three children born to Thomas (1805-1889) and Mary Jane Cragg (1818-1901). Although no exact date was recorded for his birthday, his birthyear was 1846. James affectionately referred to his older sister Margaret as “Maggie,” and the two remained close throughout the duration of their lives. After James moved west, Maggie frequently visited her younger brother in Colorado.

Before Cragg entered the music profession, he fought in the Civil War as a corporal for the Confederacy. He was captured and imprisoned at Camp Douglas, Fort Donelson, in Illinois, and then sent to Cairo as part of a prisoner exchange on September 3, 1862. At the time, he was sixteen years old.

After the War, James followed in his father’s footsteps, working in Louisville at a music store. He began as a salesman, working at D. P. Fauld’s firm for several years. He was eventually listed as a clerk and eventually established his own music store the following decade. By 1868. Cragg was also the guitarist for a group of young musicians called the Owl Club. The group was originally organized in 1866 “for the pleasure of its members,”  composed of young gentlemen who were “highly accomplished in their specialties” (Courier-Journal, Louisville, Kentucky, 11 Aug. 1868, page 4).

On Nov. 10, 1875, Cragg married Annie W. Parmele (b. 1853) in Louisville. She was the daughter of  Amos G. Parmele (1818-1895) and Melina Dorcas Williams (1819-1910). Some records list her father as Alexandre Parmell, or A. G. Parmeal.  In all cases, he was a merchant married to Melina.  By 1878, Cragg was running his own music store on Walnut Street, just five doors down from his previous employer D. P. Faulds. Cragg remained in Louisville until 1880 when he headed west to Colorado. The 1880 US Federal Census Report listed Cragg and Ana living with his extended family; at the time, Cragg was thirty-four yrs. old and his wife twenty-six yrs. old.

It remains unclear as to how Cragg met Tabor or exactly when he arrived in Leadville. Early in 1882, Cragg was still the manager for Nick Robert’s Humpty-Dumpty company, touring across the country with the production. On Jan. 12, 1882, the “Knoxville Daily Chronicle” reported “Mr. J. H. Cragg, the genial and clever manager of Nick Robert’s Humpty-Dumpty, honored us with a call last night. We find him a gentleman in every sense of the word, and he is well pleased with their reception here.”

Less than  four months later Colorado newspapers announced H. A. W. Tabor’s hiring of Cragg for the Tabor Opera House:

“A Leadville special says the appointment of J. W. Rowell general agent of Governor Tabor has resulted in a change of management of the Tabor Opera House. J. H. Cragg is the new manager.” (“By Way of Denver,” Silver Cliff Weekly Herald, May 4, 1882).

In 1882 Cragg was also listed in Leadville City Directory as manager of the Opera House, with business offices at 124 West 3^rd Street. Later that year, Nick Robert’s “Humpty-Dumpty” played in Leadville from November 6 to 8. A week later, “Oliver Twist” played at the venue. On Nov 15, 1882, the “Leadville Daily Herald,” reported, “Manager Cragg, of the opera house, had a wide grin open his face as he came out from the stage entrance and stepped down into the auditorium at the conclusion of the fifth act in Oliver Twist . Manager Cragg was evidently highly amused about something and appeared almost on the point of taking the audience into his confidence when, happening to look towards the centre of the house, he observed that the majority of those present had risen en masse and were making towards the entrance as fast as they could . Then did the genial manager’s smile extend into a broad grin of laughter as be whispered into the ear of a hurrying friend “what’s your hurry, there’s another act yet.” “Another,” exclaimed the gentleman, then I’d better sit down.” Plump be dropped into the nearest vacant seat and gazed not alone at the curtain, but upon the silent rows of vacant seats before, behind and around him. It was too true; the majority of the audience had formed a conclusion of its own and decided that “Oliver Twist” had come to an end while yet the most pathetic incident of the drama was wanting. “On mete! O more!” sighed Manager Cragg.”

By 1885, Cragg was doing much more for H. A. W. Tabor than managing his Leadville opera house. Soon Cragg assumed responsibilities as manager of the Telephone Company, also located in the Tabor Opera House. On June 20, 1885, the “Carbonate Chronicle” included an article about “The New Hotel. The article reported, “Mr. J. H Cragg will probably be the new manager and Chauncery Nichols head clerk.” Cragg did secure the managerial position was soon listed in advertisements for the Tabor Grand Hotel on Harrison Ave in Leadville; J. C. Hutchinson was the first proprietor (The Chaffee County Times, Sept 10, 1885). Cragg would remain as the hotel manager even after Mrs. Geo. Bittinger was became the new proprietor (The Chaffee County Times, Dec. 10, 1885). In addition to managing a variety or firms, Cragg also dabbled in mining interests with a substantial return.  He partnered with Charles Eldridge on the Hazel Kirke and Natalie mines (Carbonate Chronicle, April 18, 1885). In 1887 the “Detroit Free Press” described Cragg as “one of the richest mining men in Colorado” mentioned (Feb. 10, page 8). The article added, “J. H. Cragg has named his latest mine “Billy Florence,” in honor of the actor.”

From 1886 to 1894, Cragg remained the manager of the Tabor Opera House until it changed hands and became the Weston Opera House. Prior to his departure, Cragg instigated a series of improvements to the building and stage. On March 22, 1886, the “Carbonate Chronicle,” included and article entitled, “Improvements in the Opera House.” The article reported, “Manager J. H. Cragg, with his usual interest for the benefit of his patrons, has secured the services of Mr. W. B. Bell, the carpenter, to tear out the old boxes, enlarge them and fit them up in first-class order; in fact, as fine as any in the country. For the care and taste Mr. Cragg is taking in beautifying our opera bouse, we hope when they are finished to see one or two box parties at every performance. Of other repairs which he is making we will mention a part at present, but when finished we hope to give a detailed account. The old ungainly looking wooden posts under the gallery have been removed and, in their place, a neat iron column, the walls and ceiling under the gallery have been papered with the finest gilt paper. As soon as it is found that the new roof does not leak, the main celling will be finely papered or frescoed. The painting will all be in fine white and gilt. It is unfortunate that the boxes cannot be finished in time for Miss Jeffreys Lewis’ engagement to-morrow evening, as her engagement here will be an event in theatrical circles” (page 8).

            After the project was completed, Cragg had cause to celebrate and enjoy life. The Cragg’s celebrated the fall with extended family from Louisville. On Sept 12, 1886, the “Herald Democrat,” reported “Mr. and Mrs. J. H. Cragg, accompanied by their father, Mr. A. G. G. Parmile of Louisville, and Mr. Al Boudmant, of Red Cliff, will spend today at Twin Lakes.” The Craggs’ fortunes soon took a turn for the worse.

Anna passed away the following spring. On March 6, 1887, the “Courier-Journal” in Louisville reported, “CRAGG – At Leadville, Col. March 1, Annie W., wife of J. H. Cragg.” On Oct. 3, 1887 the “Leadville Evening Chronicle” announced, “Mr. J. H. Cragg returned Friday evening form a three week’s trip in the east. He returned much improved in health, which will be gratifying news of his many friends in this city.” A lovely memoriam was published in the newspaper, written by a childhood friend of Cragg’s; here is the link: https://drypigment.net2020/12/13/travels-of-a-scenic-artist-and-scholar-james-and-annie-cragg-of-leadville-colorado/

In the midst of grieving, Cragg threw himself back into work, falling into the previous pattern of managing the Telephone Company, the Tabor Opera House and the mines. It was around this time, that Cragg hired T. Frank Cox to painted additional scenes for the Tabor Opera House. On January 8, 1888, the “Herald Democrat” reported, “Manager J. H. Cragg has been adding new scenery to the properties at the Tabor Opera House” (page 4). Other articles described the various scenes painted by Cox and immediately used by touring companies. Later that spring Cragg also began managing his own touring production. On May 2, 1888, the “Aspen Daily Times “ included an advertisement for “A Ribbon” and the Ribbon Comedy Company under the management of J. H. Cragg. This was H. B. Iszard’s Musical Comedy show, comedy interspersed with catchy musical selections from Braham, Bristow, Graham, Lyons, Bolasco, Sullivan, McGuiness, King and Rooney.

            Cragg also became increasingly active in social and fraternal activities, joining both the Benevolent Protective Opera of Elks and the Knights of Pythias. On July 9, 1888, the “Leadville Evening Chronicle” interviewed Cragg in an article entitled, “The Knights Will Drill.” Cragg stated, “We have one hundred members of the Uniform Rank, Knights of Pythias,” said Mr. J. H. Cragg, “and have selected twenty-four of the best drilled to take part in the Grand Lodge meeting, which is to take place in Colorado Springs on Sept. 12.” 

On July 25, 1888, the “Leadville Evening Chronicle” published a notice, giving some indication to the backstage goings on at the Tabor. The article was entitled, “A Manager’s Warning’ and explained,  “Mr. J. H. Cragg has the following notice nailed on the o.p. side of the stage at the opera house.

NO KICKING! There is only one way to get along pleasantly on this stage and that is to be pleasant. When it comes to kicking, we will be right there.

No strangers allowed behind the scenes except by permission of the manager. No loud talking, swearing  or noise of any kind will be allowed.

We will do all we can to please anyone, but of course some people come here who think they have played in larger and finer houses. It is a great mistake. It is an easy thing for us, at a moment’s notice, to move any dressing room, furnish all with grand pianos, electric lights, hot and cold water, easy chairs, etc. People who were never used to anything in their lives always kick the most. They are what I call common people. J. H. Cragg.

Mr. Cragg says obstreperous people of different companies read the above notice and take warning accordingly.” Cragg’s patience was growing increasingly thin with some of the performers that visited the Tabor Opera House stage.

For the next two years, Cragg traveled back and forth between Leadville and Louisville, visiting quite often with family. He must have also channeled some of his grief into art. Cragg was an accomplished artist in his own right, as was his sister Maggie. The first mention of Cragg’s painting skills were noted in Leadville during 1889. On October 2, 1889, the “Leadville Evening Chronicle” mentioned Cragg in the section entitled “Palette Paragraphs,” reporting “Mr. J. H. Cragg’s rooms are profusely adorned with paintings from his very own brush.” I wonder if he was heading for a change of pace after the passing of his wife, finally finding it in 1891. That year the Denver Directory, listed J. H. Cragg as the assistant manager for the Silver Theatrical Circuit, with business offices at 14-18 Opera House Blk in Denver. Cragg’s private residence was listed as 32 Ghost Bldg.

Cragg’s sister was also an accomplished artist in her own right. On June 8, 1893, the “Herald Democrat” included an article about Cragg’s sister Maggie, also an accomplished artist in Kentucky.  The article was entitled, “Her Artistic Success” and announced, “Manager J . H . Cragg , of the Opera house, has good cause to feel somewhat proud and elated at the triumph of a sister of his, Mrs. Maggie Cragg Ball of Louisville , Kentucky . This talented lady is an accomplished artist and has made a life study of painting on china. Her talent and genius had won for her quite a reputation at home, and she was requested to contribute a work of art for the Kentucky building at the world’s fair.”  By Dec. 9, 1894, the “Herald Democrat” announced, “Mr. J. H. Cragg, for many years the efficient and popular manager of the Tabor (now Weston) Opera House in this city has severed his connections with that place of amusement to accept a more responsible position in connection with the management of the Mid-winter fair at New Orleans. His many friends here regret his departure, but confidently hope for his success in the new enterprise he has undertaken.” He did not leave Leadville for long and was back in the city directory the following year.

Cragg was listed in the 1895 Leadville City Directory as a clerk at the Hotel Vendome. By 1898 he had worked his way up to chief clerk and by 1899, advertisements for the Hotel Vendome published listed J. H. Cragg as asst. manager. His time at the Hotel Vendome ended on Jan. 1, 1901, when an article in “Herald Democrat “ announced the retirement of both Messrs. Brisbane and Cragg.” That year Mr. Chase took over all management responsibilities.

Cragg continued to remain very active with the Elks, however, and it was this relationship that may have influenced the group’s decision to purchase the Weston Opera House. On August 30, 1900, the “Herald Democrat,” recorded Cragg’s artistic success at and Elk’s benefit performance in an article entitled “Elks Entertain a Jolly Night.” The fourth annual benefit of the Benevolent Protective Order of Elks, Leadville lodge No. 236, was given at the Weston opera house, and considered a “success of the season.” The article reported, “The curtain was then raised on a scene containing ease! and crayons and J. H. Cragg proceeded to show his skill as a lightning sketch artist. In an amazingly short time, he had made landscapes in color which had from the distance of the audience, all the appearance of oil paintings.” He remained active in the mountain community and was even appointed grand marshal for the Fourth of July in 1901; that was one of the years with falling snow on July 4.

Cragg’s activities with the Elks continued and Cragg represented the Leadville Lodge at a Boston Convention in 1903. On July 27 that summer, the “Herald Democrat,” announced, “Colonel Jim in Baltimore.” Of Lodge No. 236 B.P.O. Elks, the Baltimore Herald reported, “One of the most prominent Elks from the west now in the city Is Mr. J. H. Cragg, of Leadville, Colo., who came to the reunion with the Louisville lodge. Mr. Cragg is the past exalted ruler of the Leadville lodge and during his administration last year installed 236 members in his lodge. In proportion to population the Leadville local has more members than any other in the United States. The population of the city is 12,000 and the membership of the lodge is 665 members. They have recently occupied their new club house, which cost $60,000 to erect.” 

Cragg passed away only a short time later, on January 17, 1904. His obituary was published in Colorado Springs “Weekly Gazette” announced, “Leadville, Colo., Jan. 17.- James H. Cragg, a pioneer of Leadville, died here today of pneumonia, after an illness of almost two weeks. Mr. Cragg was a native of Kentucky, 56 years of age and came to Leadville to manage the Tabor Opera House for H. A. W. Tabor. After Tabor left, he looked after the latter’s mining interests here and at one time was manager of the Vendome hotel. Mr. Cragg was a prominent Elk and served several terms as exalted ruler of the local lodge. The remains were taken to his former home in Louisville for interment. In his earlier life Mr. Cragg was manager of many theatrical companies and is known to theatrical people all over the country” (January 21, 1904, page 2).

Cragg’s obituary was also published in the “Courier-Journal” in Louisville, Kentucky on January 18, 1904, home to his only sister Maggie. “James H. Cragg Dies in Colorado. Was brother of Mrs. J. M. Chatterson, of Louisville, Who Was at His Bedside. James H. Cragg, fifty-six years old, died at 4 o’clock yesterday afternoon of pneumonia at Leadville, Col. He had been seriously ill for two weeks, and his sister, Mrs. J. M. Chatterson of Louisville, went to Leadville last week and was with him when he died.

Mr. Cragg was prominently connected in this city and had a large number of friends here, He formerly owned a music store on Fourth Avenue, between Green and Walnut streets, and moved West fifteen years ago. He was well known and popular with musical and theatrical people, and his store was headquarters for visiting members of the profession. He had been successful in his mining ventures in the West and was preparing to close up his business and return to Louisville to live when taken ill. He was unmarried and is survived by one sister, Mrs. J. M. Chatterson.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

For quite some time I have been exploring the life of James H. Cragg, manager of the Tabor Opera House from 1882-1894. He was a musician, theatrical manager, and scenic artist. During the 1890s he was also the assistant manager for the Silver Circuit, as well as an assistant manager at the Vendome Hotel. Tomorrow, I will post quite a lengthy article about this fascinating man.
Cragg oversaw two stage renovations at the Tabor Opera House and multiple scenery additions, yet little is known about his personal life. In 1875, he married Annie W. Parmele and the two moved to Leadville by 1882.

In 1887, Annie passed away and Cragg fell ill. For a time, he sought solace with his family in Louisville. When he returned to Leadville, a lovely memoriam was written by his childhood friend in Kentucky and published in both Louisville and Leadville. It says so much about the couple and their deep love for each other.

“In Memoriam.

Mrs. James H. Cragg, died on March 1, 1887.

“On November 10, 1875 , I witnessed the marriage of Mr. James H. Cragg to Miss Annie W . Parmele, in the Broadway M . E . church in this city. The good Rev. Dr. Schon, whom death has long since removed from our midst, performed the happy ceremony in the presence of a large crowd of relatives, friends and acquaintances. A happier pair were never made—
“Two souls but with a single thought, Two hearts that beat as one-“
and a fairer and more beautiful bride than Annie never blushed before the altar of hymen, as she stood beside the man she loved, and the venerable minister solemnly joined them together in the holy bonds of happy wedlock. Together they started out upon the broad road of life, hand in hand and heart in heart, to share each others joys and sorrows, to live to love and cling to one another with fond affection true, until they were separated by the relentless and cruel hand of death. The bright sunshine of peace, love and happiness smiled upon them, and their pathway had never been shadowed by clouds of adversity and sorrow. They seem to have been born for each other, to live for and love one another. He kind, generous, loving and true; she generous, faithful, patient, warm-hearted, and blessed by nature with all the Christian traits of human character, that constitutes a true woman and makes her lovely and beautiful in the sight of God and in the eyes of man. But, alas! Death is no respecter of persons, and loves a “shining mark.”
The cup of happiness has been suddenly snatched from their lips by the relentless and cruel hand of the destroying angel, and, with a sad and sorrowful heart, the friend of my boyhood stands holding fragments in his trembling hands as he laments the loss of her he loved with fond affection true.
On the evening of March 1, 1887, just when the bright eye of day was closing in the distant west, when time, with its nimble fingers, had commenced pinning up the curtains of the night with the beautiful stars across the cheerful face of day, the light of the lamp of a beautiful and useful life went out, and the soul of Annie put on its wings of immortality, and winged its flight to God and Heaven, to dwell forever and forever with the angels. She died as she had lived – a true Christian.
The remains were brought from Leadville where she died, to Louisville, where she had lived, and her form now rests in its newly made tenement of clay, over which loved ones shed tears of sorrow to the memory of one whom to know in life was to honor, respect and love. Like the bird who has lost its mate, and returned to its nest home to find it vacant, so, the bereaved husband has returned to his house in Leadville to mourn the loss and absence of his loved one. It was a sad and cruel blow to him, but the angels smiled to know that God had called a wanderer home to dwell in Heaven with the angels who stand before the Throne of Grace. And sound their harps with tuneful lays. Who smile upon our Savior’s face. And sing their songs of sweetest praise.
To the lonely and bereaved husband whom I have known from his boyhood, I tender my sincere and heartfelt sympathy, and extend to him the consoling thought that what has been his loss is her gain. She has left him to battle with life alone, but she has also left him that which is as dear to his heart as her memory is sacred – her love. And as the bark of his life goes drifting across the stormy sea of Time, let him fear not, but look Heavenward, use that sacred love that will live forever with him, for his compass, and God will see that he lands safely in the harbor of eternity, and meet his loved one again in the port of Heaven – where there is no sickness, sorrow, death of parting – nothing but everlasting life, love and happiness.
Oh May some bright and dazzling star, Be as a frame hung up in spaceBy angels from the “gates ajar.” In which you will see sweet Annie’s face.Dear friend, look up and be content, And don’t forget her dying prayer,You try and go where she went, She loved you here, she’ll love you there.
-Will S. Hays,Louisville, April 8, 1887.

Copyright © 2020 by Wendy Waszut-Barrett

Thomas G. Moses returned to Chicago after landing the Tacoma Scottish Rite project in the fall of 1921.  Of the return trip, he wrote, “Had a good trip to Chicago and within two days was on my way to Detroit where a $5,000.00 contract was closed for a picture setting for the Capitol Theatre, which has got to be done immediately, as I have promised to do most of the work.” Detroit’s Capitol Theatre was a cinema and live performance venue that opened in January 1922.

Movie screens at the time were lavishly set in the midst of painted scenery or “picture sets.” Part of Moses’ ability to land jobs on behalf of the Sosman & Landis studio in 1921 was that he promised to do the painting himself. He was well known for his speed and many clients relied upon that ability, especially when dealing with a compressed time frame. Upon his return to Chicago, Moses wrote, “I soon got busy on the Detroit job and did the big cyclorama 40 feet high.”

The Capitol Theatre opened on January 12, 1922. That day, the “Detroit Free Press” announced, “Palatial Play House Built at a Cost of $2,250,000” (page 11). The article reported, “the Capitol will be devoted to the showing of the better class of photoplays and the providing of the best in vocal and orchestral music, but it is so arranged that it also can present the largest and most gorgeous stage attractions which visit the city.” The new six-story building and basement store, included an office and theatre. Located on Broadway, it ran the block to Madison Ave. The large complex included “nine ground floor stores, twelve elegant ships, four floors of offices and the largest and finest Motion Picture Theatre” (Detroit Free Press, 24 July 1921, page 8).

Architect C. Howard Crane and his associate Elmer George Kiehler were responsible of the overall design.  The “Detroit Free Press” noted “Splendid in architecture, magnificent in decoration, gorgeous in coloring, complete and modern in the conveniences and comforts provided, the Capitol will stand as a monument to John H. Kunsky, the man whose enterprise, genius and vision made it possible” (12 Jan 1922, page 11). Moses had worked for Kunsky in the past, delivering scenery for his two Detroit movie houses in 1919. Kunsky is a fascinating individual in his own right and I have written about him in past posts; keyword search Kunsky at www.drypigment.net

When the Capitol opened in 1922, it signaled a monumental shift in the perception of scenic art for the stage. The “Detroit Free Press” article announced, “Electricity has become the modern stage artist. All the painted scenery is largely subordinated to the light effect made possible by the mere pressing of a button. Thus, in the Capitol, light as a mobile element becomes an artistic medium for the creation of marvelous scenes of beauty.”

As Kunsky opened his Detroit movie palace, the “Washington Times” include an article written by Kunsky in for the “Detroit Times.” It was included as a response to the query, “What is the Moving Picture?” (Washington, D.C., 13 Feb 1922, page 16). The article noted, “A very good definition of the moving picture, as you will agree, is given by John H. Kunsky who has just built the Capitol Theater in Detroit, one of the most magnificent theaters anywhere. Writing for the Detroit Times, Mr. Kunsky says:

WHAT A THEATRE DOES.

By John H. Kunsky.

Throughout history the human race, worried with its problem and its struggles for life, has sought relaxation, a change in the mind’s work that means rest for the brain. The Greeks had their public baths, in which they met and talked; their public squares, their famous philosophical promenades.

The fighting Romans had their great arenas, in which men and beasts, and even ships on real water, fought to amuse the mob.

In the middle ages they had bear-baiting, their dog fights.

The Spaniards still have their bull fights.

The Americas, as a nation, far removed from the brutality of the gladiatorial arena, or the bill rig, find their mental rest and their mental pleasure in the theater. And in the modern theater and its work you find reflected the national personality, its interest, its culture.

WHAT IS THE MOVING PICTURE?

The question is not asked now as it once was when men doubted whether ‘the movies,’ so called would last.

The moving picture is SIMPLY THE SHORTEST ROAD INTO THE HUMAN BRAIN.

It enables the actor to display all of his skill, and the spectator instantly can see all that the story has to tell.

You can do with the moving pictures all that can be done by the living actor, and a thousand times more.

If you say that the voice of the living actor is missing from moving picture, I will admit it, and regret it. But I will answer that the absence of the actor’s voice increases the activity of the spectator’s imagination, and the work that goes on inside the mind of the spectator’s imagination, and the work that goes on inside the mind of the spectator is worth infinitely more that the spoken word of any living actor.

To arouse thought, stimulate the imagination, transport vast audiences as by magic, to all parts of the world, is a great, useful and education work. And that is what the moving picture does. An entire week of work by living actor and of close attention by spectators could not show as much as can be shown by the moving picture in two short hours.

Gigantic crowds of thousands such as no stage on earth could possibly hold are shown and brought before crowds in absolute reality on the screen.

The moving picture is a great educator, and no man can say what good is done to this and to other nations in which the moving pictures with its dramatic story is part, as it were, of the daily mental diet.”

To be continued…

Copyright © 2020 by Wendy Rae Waszut-Barrett

In 2018, I visited the Scottish Rite theater in Salina, Kansas. It was on my return trip from Santa Fe, New Mexico, to Minneapolis, Minnesota. Although I had documented the Salina collection before, I want to see the current condition of the deteriorating drops.

The Salina Scottish Rite theater was part of a 1920s Masonic building boom. Many Scottish Rite theaters with existing scenery collections enlarged their facilities and purchased new collections, trading in their old scenery for credit on a new purchase. These used scenery collections were then resold to other Scottish Rite theaters for a fraction of the original cost. In other cases, the Masons brokered their own used scenery deal, transferring scenery from one theater to another. That was the case with the 1908 McAlester scenery collection. The Salina Masons purchased the used scenery collection from the McAlester Scottish Rite. The collection was originally painted at the Sosman & Landis Studio. Here is the cathedral setting; one of the more complex scenes. For more information about Scottish Rite scenery and theaters, visit www.drypigment.com and use the keyword search function

Copyright © 2020 by Wendy Waszut-Barrett

In 1921 Thomas G. Moses secured the new Tacoma Scottish Rite scenery contract. Of the project, he wrote, “It took some work to close the Tacoma job at $6,400.00.  Will come back to do the work myself.” He intended to start the Tacoma Scottish Rite project at the beginning of December 1921, but was delayed. Moses wrote, “I should have been back in Tacoma December 1^st.  I have written them on the cause of my delay…“January 1^st found the Madam and I enjoying ourselves in Tacoma, Washington.  I had the Scottish Rite Temple work pretty well started, went back to the old theatre to work.” Moses painted the scenery for the Tacoma Scottish Rite at the Tacoma Theater before it was installed in the new building. Of the installation, Moses wrote, “Harry Naile showed up the latter part of February.  We then started to get things into the Temple and it began to look like a job.  I did a picture of Jerusalem for the asbestos curtain, and it came out very good.”

Other than one photograph of the cathedral setting, I have yet to locate an photographs of the scenery painted by Moses in 1922. Moses also decorated other parts of the building during his stay in Tacoma. He wrote, “The Scottish Rite Bodies asked me to look after the decoration which I did, partly successful. The ceiling of the main auditorium went bad, and took a good deal of scrumbling to get it even.”  It would be wonderful to see what Moses considered “bad” at this time. 

Before Moses left Tacoma, he wrote, “On the completion of our contract and on the eve of our departure, the trustees gave us a dinner in our honor, which was attended by Harry Naile, it was very fine – we certainly felt honored.”

As with other Masonic projects in the 1920s, the planning and construction of the new Scottish Rite in Tacoma made newspapers across the country. On July 27, 1920, the “Oregon Daily Journal” reported, “Tacoma Scottish Rite Masons are about to construct a temple at the cost of $350,000” (page 48). Other Masonic construction projects were listed in the article, noting “Cincinnati Masons are to construct a Masonic temple to cost $2,000,000…Birmingham, Ala., is to have a Masonic Temple costing $1,000,000.” At the time, Portland Masonic bodies also built a  $1,000,000 temple. For context, $1,000,000 in 1921 is the equivalent of approximately $14,500,000 today.

The new Scottish Rite building in Tacoma was formally dedicated on April 7, 1922. The Scottish Rite was located at 5 South G St. Designed by Sutton, Whitney and Dugan, the five-story Masonic complex was located at Park Heights & Division Avenue overlooking Wright Park.

The Masons did not hold onto the building for long, and I have to wonder whatever happened to Moses’ scenery after they vacated the building. On January 9, 1937, the “Spokesman Review” announced, “Masonic Cathedral Bought by Church.” The article continued, “Purchase of the Tacoma Scottish Rite Cathedral for $50,000 was voted by the Independent Bible church of Tacoma last night. The building, lost by the Scottish Rite on a mortgage some time ago, is now the property of Washington Mutual Savings bank of Seattle” (page 11).

The Scottish Rite Temple stood the test of time until recently, becoming a rare example of poured concrete architecture in the city. Despite the rarity however, the building could not be saved; churches are not subject to landmark laws in Washington State. The old building was demolished in October 2017. Although the demolition could not be prevented, negotiations with the City of Tacoma Historic Preservation Officer, resulted in some mitigation steps that included some documentation and salvage. Here is the link to an article about it: https://www.preservewa.org/most_endangered/scottish-rite/

Prior to fall demolition, much of the architectural ornament in the building was stripped from and resold. Here are some of the materials that were resold at a second use shop: https://www.seconduse.com/2017/11/featured-job-tacoma-bible-presbyterian-church/

To be continued…

Copyright © 2020 by Wendy Rae Waszut-Barrett

Scenery by Toomey & Volland scenic studio of St. Louis, Missouri, for the Scottish Rite Theatre in Richmond, Virginia. In October 2020, I visited the Richmond Scottish Rite with Michael Powers and Richard Finkelstein to document the historic scenery collection, dating from 1900-1920. For more scenes from Richmond, keyword search “Richmond Scottish Rite.”

Copyright © 2020 by Wendy Rae Waszut-Barrett

Scenery by Toomey & Volland scenic studio of St. Louis, Missouri, for the Scottish Rite Theatre in Richmond, Virginia. In October 2020, I visited the Richmond Scottish Rite with Michael Powers and Richard Finkelstein to document the historic scenery collection, dating from 1900-1920. For more scenes from the Richmond Scottish Rite keyword search “Richmond Scottish Rite.”