Author: waszut_barrett@me.com

Copyright © 2020 by Wendy Waszut-Barrett

In 1883, Henry C. Tryon painted a drop curtain for the Salt Lake Theater. Many sources explain that Henry C. Tryon replicated a painting by William Linton (1791-1876), “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theatre’s drop curtain composition. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

On Sept. 2, 1883, the “Salt Lake City Herald” published a long description of Tryon’s drop curtain composition (page 4). Here is the article in its entirety:

“Henry C. Tryon, artist of the Salt Lake Theatre, has finished the drop curtain on which he has been engaged for some time past. To those who have been acquainted with the artist’s condition during his work on this picture, the result will be a profound surprise. He has had scarcely one day on it in which he had the strength necessary to the labor, to say nothing of the unfortunate condition of mind that naturally results from physical incapacity and sickness.

The picture is from a painting by W. Linton, called “A City of Ancient Greece, with the Return of a Victorious Fleet,” but the lines of the composition have been materially altered, and it must be admitted, with happy results. Instead of making the city of primary interest, Mr. Tryon has made the “Return of the Victorious Fleet” the subject of his story, using the city as a necessary detail to the perfection of the tale. The hour is just before sunset, the sky soft, warm, and tender – just such a sky as any lover of nature might have noticed here repeatedly about a week ago when our warm Indian summer evenings began; and one of who had watched the progress of the picture must have felt forcibly on many occasions during the past two weeks what a powerful effect our summer evenings have had on the artist’s mind and with what trust and feeling he has expressed the sentiment they awakened in him.

The scene opens in a broad harbor. Showing the grand architectural structures of the period and nationality in the rear, gradating into the distance with a few hazy mountains, as an accessory background, the outlines of which are made apparent by a remarkable atmosphere and soft clouds tinged and iris-hued by the rays of the fast sinking sun, the existence of which, while not visible, is none the less strongly felt. On the right, and very prominent, are marble supports and marble steps leading down to the water’s edge; opposite to the left there is a distinct intimation of the same architecture, only hidden by a profusion of foliage and the sails and banners and pennants of the incoming vessels. A viaduct beneath which a stream of water flows fringes the centre of the harbor in the rear, and here again the foliage golden tipped by the sun, grows in glorious profusion and saves the eye from that sense of weariness which architecture, bare and unrelieved, however magnificent, however fascinating for the time being, invariably produces upon a longer acquaintance.

With the genuine landscape artist’s feeling, which does not exist where it does not reach after trees and water generally, foliage freaks out from unexpected yet natural points, and while doing service by relieving the monotony of architecture, introduces a feeling which, even though unobserved, gives a sense of satisfaction which is experienced and enjoyed without passing through the judgment for approval. The story of the picture is told in its title – “The Return of the Victorious Fleet.” There need be no title for the picture explains itself. The vessels filled with warriors enter at the left, pass up the harbor, then turn to the right where they group together, where wives, children and friends rush out of the grand marble structures and are massed between the marble columns, and receive the dear ones who have come home safely and victoriously out of the contest with a powerful foe. Everything is glowing, warm and cheerful, the expression being free and happy, while the bright colors, the brilliant banners, streamers and pennants, the colors commingling and toned down by the intervening atmosphere, give to the principal chapter of the story a gala-day appearance, and inspire a sentiment of pleasure in the bosom of the spectator. There is enough omitted detail to give the imagination ample sway, hence it is that the story continues to the right outside the picture, leading to the belief that the scene which the eye beholds is continually indefinitely, and that the same happy and joyful sentiment prevails at other colossal structures which do not appear in the picture.

The story is made the richer by the happy idea of coloring which the artist has employed – that is, the line of light follows the interest of the story, which begins at the left, spreads bout two-thirds over the picture, and culminates at the extreme right hand. So the shadows are deepened at the left (the bright colors of the sails just entering the harbor relieving it of a dismal air) the light gradually dawning towards the middle of the picture where it breaks in a glorious flood just at that point where the interest of the story culminates, and then modulates and tones down to the right, leaving the impression that away in the distance the story is concluded, leaving also to the imagination just as much as is essential to the perfection of a charming sketch. One objection that might naturally be interposed to the detail of the story is the fact that on the front marble steps there are no figures such as can be seen in the rear, and which as a matter of fact ought really to be visible at the point referred to. But there are weighty reasons why these were omitted. In the first place, Mr. Tryon is essentially a landscape painter, and confesses his inability to paint respectable figures. This being true, he could add nothing to the effect. But even were he capable of painting figures, for the truth of the story they are better omitted in this picture. To paint them well, or even indifferently, would be to arrest the eye, and in the degree in which this result was produced, just in that degree would the interest of the story be interrupted, and the idea of the artist be disadvantageously affected. It is a principle in all art that too much detail ruins the finest paintings, as in all stories, those details only are to be tolerated which are essential to the solution of the plot, that moment it is an injury.

Therefore, for the reason that he was incompetent for good figure-painting, and because such a detail would arrest the eye at a point where the injurious, Mr. Tryon wisely deemed it best to leave out the figures, and made the architecture as simple as possible, relieving it only by the water at its edge, and the prows of the two vessels just turning one of the columns. So much for mechanical thought and labor. But who can explain in words the sentiment, the tone, the poetic idealism the artist intended and has expressed? It is in these mainly that his genius is manifest; and every eye that rests upon the glowing canvass will behold beauties peculiar to itself; in every mind it will awaken thoughts that may occur to none other, and the impression and sentiment that it may arouse will be individualized in each bosom. Imagine, a warm, rich, summer day, the haze of an Indian summer’s eve lingering lovingly and tenderly overall, toning down features that might be harsh and making indistinct and indefinite points that seem to fade away into atmosphere so delicate, so mild, so feeling, so tender!

Here and there a flood of warm light develops a particular feature in order that the contrast may heighten the effect, as for instance in the foliage under the viaduct, or as a single point in the architecture; as a cloud catches a single ray of the warm sun as to appears on the ripples on the waves. The beauty of the water in the harbor must strike every artist and art lover as a thing of surpassing loveliness, in that it is true to nature and nature is beauty. The reflection of the brilliant colors from the prows of the bright colored boats, mingling in the waves, produces a combination of brilliant colors, which is rendered beautiful from the very indistinguishable profusion of the hues and the brilliance of the effect, rendering the transparency of the water so realistic that the deception is perfect. But who can describe a painting in words, however beautiful, however poor? It may be pronounced good, bad, or indifferent, particularly points favored and others condemned; it may awaken thoughts that otherwise would remain dormant, and may call to view things of beauty which would otherwise have blossomed and blushed unseen, but to the artist alone is given to produce anything approaching an imitation of the evanescent beauty, the supreme grandeur of nature. The critic cane merely direct public attention, and that is all we dare attempt with regard to Mr. Tryon’s picture. The drop curtain just finished, establishes, or will establish a fact that has always been claimed by the HERALD, that a successful scene painter is every inch an artist. Only view “The Return of Victorious Fleet” by Mr. Tryon, and be convinced.”

The newspaper article stated that Tryon replicated a painting by William Linton (1791-1876) – “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theater. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

In 1910, Tryon’s drop curtain was replaced with a new one, tucked away in storage for the next two decades. Of the event, “The Salt Lake City Herald-Republican” reported,

“After thirty years of almost continuous service, the drop curtain at the Salt Lake theatre is to be replaced by a new one which manager George D. Pyper expects to have in place in time for the engagement of Henry Miller, beginning September 29. The subject of the new curtain will be Salt Lake Valley in the days of the pioneers, and it will be copied from a painting by William M. Minor, scenic artist at the theatre.

It will be difficult to exceed the beauty of the old curtain, whose artistic coloring and good drawing have made it a favorite for years. “The Return of the Victorious Fleet” was painted by Henry C. Tryon, one of the best artists in his line who ever came to Salt Lake. Those who have studied the stately ships coming into harbor may have wondered at the absence of life in the picture. The original, which is in the possession of Mr. Pyper, contained a crowd of people on the steps of the buildings, but Mr. Tryon was not a figure painter, and rather than mar his painting by inferior work, left the out altogether.

Except for the short intervals, “The Return of the Victorious Fleet” has hung in the theatre nearly thirty years. Some years ago an attempt was made to replace it by a picture of the chariot race in “Ben Hur.” The artist made the horses of heroic size, and so near the edge of the curtain that they seemed to menace the spectators who sat close. One critic of the day said that a certain scene in a play created a strong effect until “Pyper’s horses came clattering down” that there were plans for a new drop curtain for the Salt Lake Theater” (Salt Lake City Herald-Republican, 18 Sept. 1910, page 26).

Tryon’s curtain remained in storage until 1930 when it was donated to Kingsbury Hall. Tryon and his drop curtain made headlines again on January 9, 1930, when the “Deseret News” announced, “S. L. Theatre Curtain to be Hung at ‘U’” (page 9). The article reported, “The beautiful old Salt Lake theatre curtain, which hung for more than 40 years and witnessed, if curtains have that power, some of the earliest graduating classes of the old University of Deseret, will now function entirely as a cohort of education. It was announced Thursday that George D. Pyper, former manager of the theatre, had presented the curtain to the University of Utah to be hung in Kingsbury hall on that building’s completion. The curtain carries a painting by Henry C. Tryon entitled, “The Return of the Victorious Fleet.” “It was the most popular curtain ever hung in Salt Lake,” says Mr. Pyper.

On January 10, 1930, the “Salt Lake Tribune” reported, “ University Auditorium Gets Historic Curtain. Announcement was made Thursday by George D. Pyper, manager of the old Salt Lake Theater, that the curtain which was used in the historic structure would be presented to the University of Utah for the use in the new auditorium of the state institution, Kingsbury hall. The Salt Lake theater was razed last year, and the curtain is among the few relics of the building. It is decorated with a painting by Henry C. Tryon entitled, “Return of the Victorious Fleet.” Kingsbury hall will be completed about March 1. The new curtain will be hung shortly thereafter, with some form of ceremony” (page 7).

George D. Pyper wrote about the history of the Salt Lake Theatre in the 1937 book, “The Romance of an Old Playhouse.” Pyper recalled the popularity of Tryon’s drop curtain at the venue, writing:

 “Many other artists have contributed to the scenic investiture of the plays produced in the old theatre, among whom may be named J. Guido Methua, George Tirrell, De La Harpe, R. Kirkham, Henry C. tryon and later James Anderson. Of these, most interest is centered on Tryon who painted “The Return of the Victorious Fleet” o a drop curtain which hung for many years in the Theatre, and which Salt Lake theatregoers never grew tired of. It was quite marvelous that Tryon’s curtain should have been so well regarded, because, while the original picture contained what seemed to be thousands of figures, Tryon’s reproduction contained absolutely none. Years later, desiring a change, I was induced by one of the artist’s to allow him to paint the chariot race from Ben Hur” with figures heroic size. The curtain was hung but did not make a hit. Mr. LeGrande Young, a regular patron and an expert on horses, came to me and said seriously that I might fool him on a landscape or marine scene, but I could not fool him on a horse; that those Ben Hur horses were spavined and their shoulders out of joint and that unless I took down the curtain he would not patronize the theatre. Then one of the newspapers said that in a very quiet scene which required a slow curtain, “down clattered Ben Hur’s horses and spoiled the scene.” So the noisy horses were turned out to grass and up again went “The Return of the Victorious Fleet” to the great satisfaction of the theatrical patrons. Only when it actually became thread-bare and the stage lights could be seen through its worn fabric would the public permit me to junk it” (pages 143-144).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Henry C. Tryon was associated with the Bowdoin Square Theatre when he passed away in 1892. Planning for the Boston theatre began early in 1890.

On May 18, 1890, the “Boston Globe” reported, “If the new Bowdoin Square Theatre becomes a reality it will be commodious, convenient, and will open with a big attraction.” It took quite some time for the theatre to open, with the first opening planned for January 1, 1892. This tentative date was delayed until February 15, 1892.

On February 14, 1892, the “Boston Globe” published a detailed article about the new building. One section of the article described the new stage and scenery:

“The stage, one of the largest in the city, is fitted with every modern mechanism necessary for working the scenes. The prompter’s table and appliances for controlling gas and electric work are elaborate and convenient. The width of the stage is 71 feet: total height to gridiron or rigging loft, 67 feet in the clear…The provision against damage by fire are quite ample. Standpipes, hose and automatic sprinklers are placed at various points behind the scenes and a perforated pipe closes the curtain opening. The fly-men have a special fire-escape running from the gallery.

An asbestos curtain is in place to be used in case of fire. The drop curtain is a drapery design, essentially a decorative work, with a landscape accessory, a bit of mountain scenery from Switzerland. A second curtain shows an exterior scene more elaborate in treatment. These beautiful drops are the work of Mr. H. C. Tryon who also painted the front draperies. One border is a rich maroon with gold embroider, the other, or what is known as the working border, is a delicate blue on which is seen the harp and olive branches.

The house will be completely stocked with scenery. The two interiors to be used on Monday night were painted by Messrs. Arthur H. Davis and William F. Hamilton.”

[Less than a decade later. Will Hamilton would partner with Thomas G. Moses to form the New York scenic studio, Moses & Hamilton]

The article included a list of the executive staff for the Bowdoin Square Theatre, with H. C. Tryon and A. H. Davis as scenic artists for the house.

The Bowdoin Square Theatre was a sizeable venue with 1,600 seats. “Julius Cahn’s Official Theatrical Guide” provided more technical specifications for the stage in 1896. The width of the proscenium measured 32’-0” wide by 34’-0” high.  There was 40’-0” from the footlights to the back walls, with 2’-0” from the curtain line to the footlights.  The backstage was commodious, measuring 70 between the side walls. It was 69’-0” from the stage to the rigging loft and 50’-0” between the girders.  Two paint bridges were located in the upstage area. The depth under the stage was 12’-0” with ten traps. The theatre also had a scene room. By 1896, the scenic artists for the Bowdoin Theatre were Conrad Tristchler and Charles Walker.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

The Tabor Opera House in Leadville, Colorado, opened in 1879. Over the next two decades, wing and shutter scenery for the stage was repeatedly purchased, refurbished and repainted. The venue was later renamed the Elks Opera House when the Benevolent and Protective Order of Elks (B.P.O.E.) purchased the building in 1901. Immediately after the purchase, the building was renovated, and a new stock scenery collection purchased. Part of the stage renovation included adding a fly loft, so that new scenery could be raised out of sight. Previously, the Tabor Opera House used wings, shutters, roll drops and borders. This scenery was tucked away in storage after the renovation where it waited for over a century.

I lead a group of local volunteers to document both the scenery on the stage floor and that stored in the attic. On the back of one cut wing, was written: “W. J. Moon stage carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890. This penciled note identifying the creators places the eight cut wigs within the timeframe of Tabor Opera House history.

William J. Moon was a local resident, associated with the opera house for decades. Henry E. Burky was an itinerant scenic artist who began his career in Chicago and was working in Denver by 1884. “Harry Miner’s Dramatic Directory” for the 1884-1885 season listed “Burckey, Tabor Opera, Denver” as the scenic artist for the Tabor Opera House in Leadville; he was working for both of Tabor’s theaters. Burcky was still associated with the Tabor Opera House five years later.

On August 24, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (age 5). The article reported, “Mr. Burkey, the efficient scenic artist from the Tabor Grand, Denver, is at present in Leadville, and at work on some new scenery for the Tabor in this city. There will be several new sets, particularly some much needed interior scenery. One set has been completed already and is very handsome” (page 5).

On September 3, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (page 5): “Mr. Berkey, the scenic artist from the Tabor Grand, Denver, is getting along very well with the new scenery he is painting at the local theater. He has already completed three interiors, which are a decided improvement to the scenic portion of the theater. Mr. Berkey is a first-class scenic artist and does some decidedly commendable work.”

After completing the scenery project in Leadville, the “Herald Democrat” reported his departure for Denver on October 16, 1890, noting “Mr. H. E. Burcky left last evening for Denver.” In addition to the tropical-themed cut wings, I suspect one of Burcky’s double-painted interior settings remain. When he painted the three new settings noted in the newspaper, he likely repainted existing composition. When nineteenth-century scenery was repainted, it was simply scrubbed down with water and then repainted. In the case of the Burcky’s double-painted wings, the underlaying composition became a template. There was no need to scrub down and redraw and interior setting for each piece. Keep in mind that this would have been tricky, as the underlying colors would immediately lift. Scenery painted with dry pigment and diluted hide glue reactivates when it comes in contact with liquid.

Burcky’s interior set consists of wings that slide in grooves, as well as two shutters that formed a back wall. The back wall had an opening for double door in the center. What is interesting, however, is that only the shutters use flat sheaves (wheels). A pair of flat sheaves was secured to the bottom of each shutter for easy movement. Unfortunately, one of the shutters was so badly damaged that it was not lowered to the stage floor and thoroughly documented. This piece and its companion remain in the Tabor attic, until they can be repaired and safely lowered to the stage floor.

The double-painted wings do not have flat sheaves on the bottom. They were shifted during scene changes without the benefit of wheels, indicating that the wings slid in wooden floor grooves. Sets of grooves were placed above and below the unit to stabilize each unit for the interior setting.Not all of the interior setting remains, as part was disassembled to create a massive barn setting during the late nineteenth-century. Painted remnants littered the attic, a testament to the original scope of Burcky’s project. I am in the process of slowly fitting these pieces back together.

Copyright © 2020 by Wendy Waszut-Barrett

A new opera house was built at the Boston & Lowell Station in Lawrence, Massachusetts, in 1881.  In 1887 and 1892 Henry C. Tryon painted scenery for the venue.

On May 27, 1881, a special dispatch from the “Boston Post” announced the opening of a new opera house in Lawrence, Massachusetts (page 2). The venue opened to the public with a performance of “Jane Eyre” by Maggie Mitchell and her company. The opera house was described in detail:

“The theatre is one of the largest and finest in New England outside Boston. It is located over the head house of the new passenger station at the terminus of the Lawrence branch of the Lowell Railroad, and ad the building was planned with reference to the theatre, as well as the station, there is nothing incongruous in the combination of the two. The front of the building on Essex Street, is one of the most ornamental in the city. Two broad staircases lead from the street entrances at either end of the street front to a roomy lobby, which extends around three sides of the auditorium. The latter is clearly oval in shape, 100×85 feet, and 60 feet in height with an oval dome, elegantly frescoed. There is one balcony, a handsome affair, and two private boxes on either side of the proscenium arch. All the woodwork is of polished ash, and the general tone of the decoration is high and cheerful. The seating capacity is something over 1,560, and such is the incline of the floors that every seat is a good one. The seats are folding chairs, which have unique contrivances for holding hats. The stage, which would be a credit to any metropolitan theatre, is 92×52 feet, with a curtain opening 38 feet wide. It is fitted with all the modern appliances and conveniences, and the dressing rooms are perfect little boudoirs. There is a fine stock of scenery, and the lighting is so arranged as to be easily controlled. Exits are numerous from both stage and auditorium and a panic would seem to be an impossibility. The architect, Mr. Chas. T. Emerson of Lawrence, may well be proud of his work. T. J. Cates was the mason, Gregg and Severance the carpenters, and Stillman and Nichol the plumbers and gas fitters, while the frescoing and tinting is the work of Mr. W. S. Brazier of Boston. The idea of constructing this opera house in connection with the station originated with the late Hon. Hocum Hosford, and it is deeply regrated that he did not live to see the finished work.”

Interestingly, there was no mention of the scenery or the scenic artist until 1887. This was uncommon for the period, as the scenery for the stage was highlighted at the opening, with special mention of the artist and his reputation.

On August 27, 1887, the “New York Clipper” announced:

“Lawrence. – The Opera-house opens the Fall and Winter Season Aug 22.…During the Summer the house has been thoroughly renovated, painted and new carpets added, while six new scenes have been painted by Henry C. Tryon of New York.”

Tryon returned to the venue two years later, again refurbishing some scenes and repainting other.  

On July 23, 1892, the “New York Clipper” reported:

“Lawrence.-At the Opera House all is business with Manager Grant who intends to add some new features in connection with the stage and scenery. Henry C. Tryon, of the Bowdin [sic.] Square Theatre, Boston, is painting and retouching the scenes and flies, and everything will be in readiness for the opening Aug. 10, when “The Dazzler” will be the attraction” (July 23, 1892, page 312).

Four days after the article was published, Tryon passed away in relative obscurity on July 27, 1892. Newspapers announcements simple stated: “Scenic-Artist Henry C. Tryon died at Lawrence, Mass.” (Pittsfield Sun, 4 Aug. 1892, page 6).

Much information pertaining to the Lawrence Opera house has faded from history. The venue closed in 1928 and was sold less than a decade later. In 1937, the 105,000 sq. ft. parcel of land that formerly housed the old Lawrence Opera House and the old Boston and Lowell Railroad dept was sold for $250,000 to Louis M Eidam and Joseph Ganem and Bay Street Merchants National Bank (The Boston Globe, 20 October 1937, page 2).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Henry C. Tryon passed away in relative obscurity on July 27, 1892. Newspapers announcements simple stated: “Scenic-Artist Henry C. Tryon died at Lawrence, Mass.” (Pittsfield Sun, 4 Aug. 1892, page 6).

It is hard not to recall Tryon’s elegant tribute to C. Louis Malmsha upon his passing.  Only a decade earlier, Tryon’s tribute to Malmsha appeared in that newspapers across the country. Here is a link to my past post with the article: https://drypigment.net2020/10/13/tales-from-a-scenic-artist-and-scholar-part-1089-louis-malmsha-a-tribute-to-the-great-scenic-artist-by-henry-c-tryon-and-malmsha/

Two months before Tryon’s passing, he was a pallbearer at the funeral of William Voegtlin. Voegtlin passed away at the relatively young age of 57 earlier that summer.  The cause was listed as inflammatory rheumatism. 

Here is Voegtlin’s funeral notice, as published in “The Boston Daily Globe” on June 1, 1892:

“ACTORS AT HIS BIER

Burial of William Voegtlin, the Scenic Artist, at Forest Hills.

The funeral of William Voegtlin, the scenic artist, took place from the church of the Good Shepherd yesterday afternoon. Rev. Mr. Rollins officiated. Solos were rendered by Miss Maud Williams and the Commonwealth quartet. Internment was at Forst Hills Cemetery. Among those present were: Messrs. N. A. Morkell, James Blake, John Cook, A. L. Southerland, frank B. Richards, Harry M’Glenen, L. J. McCarty, John Prior, frank Pollo, Charles Harris, Benjamin Craig and Philip Seymour. The pallbearers were Messrs. John A. Thompson, Charles Withm, William Gill, Victor Lawson, Henry E. Dixey, William Dixon, Henry C. Tryon and Mr. Brooker.”

I have written about Voegtlin in the past, but here is a brief recap of Tryon’s close friend:

William Voegtlin was born in Basle, Switzerland in 1835, emigrating to the United States at the age of 15 and settling in New Orleans where he first began scenery painting. Voegtlin quickly ascended to the top of his profession and by 1879 he was listed as one of the “very best of living scenic artists.” Voegtlin was also mentioned in the article, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” after his passing. Of Voegtlin, the article noted,  “One of the great giants of the scenic world was William Voegtlin, the greatest deceiver of transformation effects that ever walked the paint bridge.  He had a style peculiarly his own and seemed to incorporate the stunning effects of all schools…his color was wonderfully vivid, and he was a grand master with foil. In this latter respect he was only rivaled by Thomas Noxon of St. Louis, a remarkable artist in spectacle.  Voegtlin often ate and slept on the paint frame for weeks at a time during the rush of a great production” (Dec. 18, 1892). For a period of time, scandal associated with the Voegtlin name too.

In 1857, Voegtlin married his first wife Berth Fleichman in Peru, Illinois. Two of nine children survived to adulthood, each son following their father’s footsteps. As an itinerant artist, Voegtlin frequently traveled for work, assisted by his sons.  This left his wife at home alone, and after twenty-six years of marriage she ran away with a close family friend, Carl Voegel, of Voegel & Co. At the time, Voegel was also married and it caused quite a scandal.

The Voegtlins separated, but never officially divorced, which would later become a problem for William in particular when he married again. Voegtlin moved west where he worked as a scenic artist at Bush-street Theater in San Francisco. Ironically, his first wife was also living in California at this time, cohabitating with Voegel in Oakland. Voegtlin, however, married a second wife without divorcing his first, making papers across the country as a bigamist. To make matters worse, both wives blackmailed him, holding the charge of bigamy over his head. When his case went to trial, however, Voegtlin was acquitted of his crimes and returned to work as a scenic artist until his passing in 1892. The cause of death was pneumonia.

At the time of his death, newspaper announced, “News from Boston announces the death of William Voegtlin, one of the best known and experienced scene painters in the country” (Chicago Tribune, 1 June 1892, page 6). Various publications shared little snippets of fame from the past about Voegtlin. A stark contrast from Tryon’s simple death notice, with no funeral announcement.  He may have died alone, and there was no one to mourn him.

If there is no one to share your story, you gradually pass from memory.

To be continued.

Copyright © 2020 by Wendy Waszut-Barrett

From September 21 to 27, 2020, I led a group of volunteers to document scenery in the attic of the Tabor Opera House, Leadville, Colorado. Of the many wings, shutters and set pieces uncovered, one particular border curtain caught my eye.  On the back of the piece was a mill stamp that read, “Stark Mills Improved Standard Drillings A.” To fully appreciate this artifact, one must understand the significance of Stark Mills and use of drillings for nineteenth-century scenery.

Stark Mills was located in Manchester, New Hampshire, just thirty-six miles away from Boott Mills in Lowell, Massachusetts. Both mills were situated along the Merrimack River, supported by power canals. Both mills produced textiles used by scenic artists for scenery at the Tabor Opera House.

Stark Mills produced some of the heaviest cotton fabrics shipped from mills in Manchester, New Hampshire, during the nineteenth century. Their products included sheetings, drillings, denim, duck and much more, each shipped to thousands of distant dry goods stores. Stark Mills products were even sold in Hawaii by 1870. Newspaper advertisements for Honolulu listed bales of Stark Mills A Sheeting, B Sheeting and A Drilling for sale.

When the Tabor Opera house opened in 1879, Stark Mills textiles were readily available from many western merchants. Drillings were also a familiar product known to many theatre artists and worked well for painted scenes. Keep in mind that before the railroad arrived in Leadville, products were shipped by stage over the mountains, including a variety of necessary textiles for everyday life. Stark Mills Improved Standard Drillings were a necessary fabric for the mining community, primarily used in dress and vest linings.  The shipping of the product by stage to Leadville signaled a continued commercial relationship with east coast industry. The Tabor Opera House opened its doors before the railroad arrived in town.

Several scenic pieces at the Tabor Opera House were produced using Stark Mills, listing the product as grade “A” drillings. A “40” on the stamp indicated the number of yards in a bolt.  The popular plain weave cotton fabric was a sturdy, inexpensive, and paintable fabric.  In 1890, “best drillings” were advertised at a price of eight cents per yard in Leadville, today’s equivalent of $2.29/yard.   (Herald Democrat, 22 Jan 1890). Scenic artists working on site in remote western towns, such as Leadville, relied on local materials. Unlike their metropolitan counterparts, scenic artists working in Leadville did not have the luxury of access to an array of variety of goods, wit varying quality and price points.

Drillings are fabric with a twill weave, characterized by diagonal lines made from the filling threads. Also referred to as “drill,” this fabric was marketed as a stout twilled fabric, and traditionally used in summer-weight clothing, such as trousers. Drill was especially popular for uniforms and other military goods during the nineteenth century, as well as being used as lining for dresses and vest. Although the date of manufacture for the border curtain fabric remains unknown, the fabric was likely produced between 1879 and 1887.

Stark Mills was a massive complex in Manchester, New Hampshire. By 1881, Stark Mills manufactured 17,000,000 yards of cotton goods that were shipped across the country (Vermont Farmer, 21 Oct 1881, page 2). In 1882 Stark Mills produced 8,567,000 pounds of product; the goods including sheetings, drillings, duck and bags (The Boston Globe, 18 Oct 1881, page 6). This was an increase over the previous year by 230,000 pounds, indicating an increased supply to meet increased demand.

Stark Manufacturing Co. was an affiliate of the Amoskeag Manufacturing Company. In 1831 the Amoskeag Manufacturing Co. was incorporated along the banks of the Merrimack River after engineers determined that the east bank of the Merrimack River was deemed best for the establishment of mills and tiered canals. In short, the company planned an extensive mill town, purchasing much of the land on the east bank of the Merrimack in 1835.  Early in 1838, several individual with interests in the Amoskeag Manufacturing Co.  submitted a petition to the legislature for a charter of incorporation under the name of the Stark Manufacturing Company. The name Stark was selected in honor of John Stark. Stark was a Maj. Gen. in  the Continental Army during the American Revolution, widely known as the “Hero of Bennington” for his exemplary service at the Battle of Bennington in 1777. Immediately upon the organization, the Stark Manufacturing Company entered into an agreement with the Amoskeag Manufacturing Co. and began building the first Stark Mill.

The Stark Manufacturing Company purchased fourteen acres of land from the Amoskeag Manufacturing Company, and secured an agreement for water usage from the Amoskeag Canal. Stark Mill opened in 1839, with the new building measuring 50’-0 wide by 150’-0” long. Six tenement buildings provided nearby lodging for mill workers. Raw cotton entered the building by a three-story picker house at the south end of the building. Picker machines both cleaned and processed the cotton fibers for further processing prior to using in looms.

Soon a second mill was erected nearby the original structure, exactly the same size as the first. By 1844, a third mill was added, placed between the two buildings. The three mills formed a large complex that became known as Stark Mill No. 1. This six-story structure was 526 feet long and contained 20,000 spindles and 660 looms.  In 1844, the Stark Manufacturing Co. processed three million pounds of raw cotton and employed 540 people. Stark Mill No. 2 was built in 1846. This factory had 19,564 spindles with 560 looms.

In 1850 fire broke out in Stark No. 1, the refitting of the mill included Cyrus Baldwin’s invention to manufacture seamless bags. Of the 660 new looms, 260 were now dedicated to the production of bags; the 260 Baldwin produced 2,000,000 bags each year. The seamless grain bags were identifiable by the word “Stark” over a semi-circular arch, with the letter A below. This was an extremely popular product, quickly imitated by competitors. In 1871, a Philadelphia firm was accused of making and selling similar goods with the word “Star” over a semi-circular arch and the letter A below. The court eventually granted an injunction to restrain the use of the imitative mark (Buffalo Weekly Courier, 3 May 1871, page 6).

By 1875, the number of mills associated with the Amoskeag Manufacturing Co. had increased to nine. The mills were outfitted with 125,000 spindles and 3,500 looms. 2700 individuals were employed, with 1,800 of that number women. The mills were powered by 14 water wheels, transforming 225,000 pounds of cotton into 600,000 yards of textiles each week. From 1874 to 1875 Stark Mills manufactured 12,579,734 yards of cotton and linen goods, as well as 1,738,547 lbs. of bags (“Boston Daily Globe,” 8 Oct. 1875, page 2). In 1875 the Stark Mills payroll was a little over $20,000 a week, or about $1,250,000 a year.).  By this time, half of all goods manufactured by the mills were colored goods, consisting of tickings, denims, fancy shirtings, sheetings, and bags. The “white” goods remained drillings, flannels, sheetings and bags.

From 1879-1890 the Tabor Opera House purchased new scenery at least three times: 1879, 1888 and 1890. New scenery was added to existing collections, as well as refurbishing and repainting scenes. The fabric for many of these scenes are stamped with either Stark Mills of Boot Mills.

Over time, some of the Tabor Opera House border curtains were repainted to accompany new productions, yet the mill stamps remained visible. As subsequent collections of scenery were purchased and painted for the Tabor Opera House stage, standard sheetings were selected in lieu of older drillings. This preference was also reflected in products marketed by scenic studios.  By the late 1880s, the preferred fabric for American scenic artists became cotton sheeting. The smooth finish of the fabric especially helped with scenic illusions, such as transparencies. At this time thicker products, such as Russian linen, were reserved for painted front curtains (drop-curtains), grand teasers and grand tormentors.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

On June 18, 1884, the “Salt Lake Herald” reported, “Henry C. Tryon, the scenic artist, wrote from Haverhill, Mass., that he is about to perpetuate matrimony, and he sends a photo of the beautiful lady whom he designates as the victim. In gazing at the picture and thinking of Henry, we wonder how he was able to “work the act” (page 8).

Thomas G. Moses, John H. Young and Henry C. Tryon went on a sketching trip in October 1885.  Moses wrote, “At this time, Tryon was very much in love with a schoolteacher in Haverhill, Massachusetts, whose name was Hattie.  He promised to write her every day and she had promised to reciprocate.  So, we spent the evening writing letters to our dear ones.” I have yet to verify his marriage to Hattie. However, there are a few things to consider.

By 1885, Tryon was 38 years old. Twelve years earlier he married Bridget “Bee” Pierce on Nov. 13, 1873. The marriage took place in Cook County, Illinois on November 13. Henry and “Bee” Tryon celebrated the birth of one only son, Henry Tryon, Jr. on August 18, 1874. Little is known of Bridget, little Henry Jr. or Tryon during this time.  I have not tracked down a death certificate for Bridget or even a birth certificate for Henry Jr.  At this time, their fates remain unknown, and I have to wonder if Bee died in childbirth, with little Henry soon following.

It is difficult to track down nineteenth-century women for so many reasons: their names change, they die in childbirth without death certificates, husbands leave, women leave their husbands, and people do disappear. Additionally, many historical records include information provided by husbands, so pet names can replace legal names and other information is changed. It can get cloudy. especially when there are multiple marriages.

Unfortunately, Moses mentions “Hattie” without providing any last name.  “Hattie” was also the nickname for Harriet or Henrietta, throwing in a few more variables to my search. After quite some time, I have yet to track any information about a second marriage. However, while looking for more information about Hattie, I began to focus on her hometown of Haverhill. Interestingly, Tryon worked and died in a neighboring town – Lawrence, Massachusetts. The city centers of Haverhill and Lawrence are only eighteen miles apart; less than a three-hour walk. Haverhill is also just up the river from Boott Mills in Lowell. Keep in mind that Lawrence was also only thirty miles from Boston.

In 1887, the New York Clipper” first reported Tryon as working at the Lawrence opera house. The August 27 article reported, “During the Summer the house has been thoroughly renovated, painted and new carpets added, while six new scenes have been painted by Henry C. Tryon of New York” (NY Clipper, 27 August 1887). At the time of Tryon’s passing in 1892 he was associated with the Bowdin Square Theatre in Boston. This does not mean that he lived in Boston, just that he was scenic artist for the house during 1892. Prior to his passing in Lawrence that August “New York Clipper” included an announcement about his work at the Lawrence Opera House in July:

“Lawrence.-At the Opera House all is business with Manager Grant who intends to add some new features in connection with the stage and scenery. Henry C. Tryon, of the Bowdin Square Theatre, Boston, is painting and retouching the scenes and flies, and everything will be in readiness for the opening Aug. 10, when “The Dazzler” will be the attraction” (July 23, 1892, page 312).

When Tryon passed away on July 27, 1892, he was entered into Lawrence city records.  The death record listed Tryon as a scenic artist from Chicago. For years he had been listed as a Chicago scenic artist, especially while first courting Hattie in 1884. Tryon’s cause of death was noted as Bright’s Disease. Bright’s disease was a historical classification for kidney diseases. Here is a link for more information about Bright’s Disease if you are interested: https://en.wikipedia.org/wiki/Bright%27s_disease .

There was additional information in the death record, including his birthplace in Sandusky, Ohio. His parents’ names and birthplaces were also included – Jacob Hornbeck of Oswego, NY, and Anna M. Hammer of Hagerstown, Michigan. The detailed information indicate that it was provided by someone who obviously knew him well. Although a death notice for Tryon was announced in newspapers across the country, it only stated:

“Scenic-Artist Henry C. Tryon died at Lawrence, Mass.”

For someone who wrote so much throughout the duration of his life, Tryon’s own passing was marked with few words. No funeral notice, no tribute, nothing.

To be continued…

Attached are some photographs from my trip with Andrew Barrett and Rick Boychuk to Český Krumlov in 2016. Enjoy. I also posted a drop at Český Krumlov yesterday. Here is the link: https://drypigment.net2020/11/05/travel-of-a-scenic-artist-and-scholar-my-visit-to-the-castle-theater-in-cesky-krumlov/

I am in the midst of compiling hundreds of pages of documents concerning the scenery collections as the Tabor Opera House in Leadville, Colorado, while organizing a move seventy backdrops from Richmond, Virginia, to Tucson, Arizona. In other words, I need a mental break from this project and American politics.

Attached are some photographs from my trip with Andrew Barrett and Rick Boychuk to Český Krumlov in 2016. Enjoy.

For additional information about this magnificent theatre, visit: https://www.theatre-architecture.eu/en/db/?theatreId=140 and http://www.castle.ckrumlov.cz/docs/en/zamek_5nadvori_bd.xml

Copyright © 2020 by Wendy Waszut-Barrett

In 1884, Henry C. Tryon joined the Sosman & Landis studio staff in Chicago as replacement for Lemuel L. Graham. “Lem” had left for Kansas City to open a regional branch there. At the time, John H. Young was also working for Sosman & Landis, but primarily painting at the firm’s New York studio.

Of Tryon’s arrival at Sosman & Landis, Moses wrote, “he enthused Young and I more than anyone ever had.  He was a pupil of Thos. Moran and James and William Hart and was very clever, but awfully eccentric.”

In October 1885, Moses, Young and Tryon journeyed to West Virginia on a sketching trip.  The full story was published in the “Palette & Chisel Club” newsletter years later. Today’s post is a series of excerpts about Tryon from Moses’ story. It provides ten sort scenes that give us a glimpse into Tryon’s personality on the sketching trip:

1. Moses wrote, “I certainly enjoyed talking on any subject with Tryon.  He was very strong on politics, which did not particularly interest me.  He was very interesting when it came to anything on art.  He had been a pupil of Thomas Moran.  Tryon told this story:  He had bothered Moran for some time trying to induce Moran to take him on as a pupil.  Moran was too much of a gentleman to throw Tryon out of his studio, so he finally took an old canvas, slapped on a lot of color with a palette knife, handed it to Tryon and said: “Take home that, make a picture out of the accidentals and bring it back in a week.” Moran felt that Tryon would throw the canvas away and not come back.  The week-end found Tryon back and Moran was so well pleased with the result that he took Tryon in as a pupil, which was very beneficial to Tryon who followed Moran’s style of work even into his scenic painting, as well as his oil.  He enjoyed telling this story; he surely must have made a good picture of Moran’s accidentals.”

2. Moses wrote, “We went through a number of tunnels and one, which was over a mile in length, was at a town called Tunneltown.  We were now in West Virginia, on the Cheat River.  The color was wonderful; the extreme blue of the distant mountains gave the whole landscape a most brilliant opalescent effect.  Tryon was simply wild with joy, jumping from one side of the car to the other and calling me “There look a that, isn’t it wonderful! Aren’t you glad that you came? Did you ever see such color”? We both felt like jumping off; at every turn we could see a picture.  As we neared Piedmont, West Virginia, the scenery became wilder and more colorful.”

3. Moses wrote, “While we were waiting for our dinner, and were all seated on the big porch, Tryon was seized with stomach cramps.  Mr. Elkins noticed Tryon’s groaning and said, “Mr. Tryon, if you will go up to Room 3 you will find a black grip; open it and right on top you will find a cure for stomach trouble.”  Tryon did this and came down feeling better, thanked Mr. Elkins, and within fifteen minutes had another cramp.  Mr. Elkins said, “Go after it again, Tryon,” and he did.  This time he must have taken a good long one, for it seemed to settle him.”

4. Moses wrote, “The General Store at Schell was some store and included the post office.  Back of that was the living-room and kitchen and there were three rooms upstairs.  Tryon and I occupied one of these.  John Young joined us here and entered into the spirit of the outing. The evening of Young’s arrival we were all in the store.  Young was stretched out on the counter, with his head resting in the scoop of the scales, and Tryon, with his immense meerschaum, was hitting it up like an engine.  We missed the talkative huntsman, but everyone here was interested in us and our work because Mr. Elkins had told them who we were. We had two beds in our room, but had to pass through a room occupied by the landlord’s son.  If he happened to be awake when we retired, Tryon would always stop and talk with him.  The landlord was an infidel, which pleased Tryon, for it gave him the opportunity to assist in tearing all of the religions of the world into shreds.  In one way, Tryon did not believe all he said.  I believe he only wanted a chance to argue.”

5. Moses wrote, “The eccentric antics of Tryon seemed to amuse the natives.  He very seldom had breakfast with Young and me; we would usually be out sketching an hour before he showed up.  We found one fine place not more than a quarter of a mile from the store, across the river, which, at this point, was very narrow and awfully swift.  We had a small boat which we used in crossing this turbulent stream, and we had to be very careful to avoid being dashed to pieces against the big rocks.  By going upstream some distance we could ford across, and Young, with his long legs could jump across from rock to rock, but he preferred the boat.  On the other side we found all kinds of sketches.” 

6. Moses wrote, “During the night a heavy thunderstorm passed over us, and the wind through the big pine and hemlock trees, together with the constant baying of the hounds, made the night one of unpleasant dreams.  Tryon and I had a double room.  As he was very careless with his clothes – the floor was better than a chair – he stepped on his derby hat.  A fine kind of hat to take on a sketching trip! Strips of paper glued to the inside of it put it in good working shape again.” 

7. Moses wrote, “On a trip to Blackwater Falls we experienced a hard battle to get through the laurel, not so much ourselves as the unwieldy stools, easels and paint boxes, which managed to get caught at every other step, sorely impeding our progress.  On reaching the brink of the Falls we discovered a very precipitous bank, impossible of descent.  We made a couple of sketches up the river from the brink, then tried to figure out some way to get below, for that was the sketch we wanted.  Tryon was not quite through with his sketch, but agreed to follow us, so Young and I forged ahead down the river, trying to find a place to crawl down.  We went fully a mile before we found an opening; then the walk back to the falls was pretty hard – mostly over rocks in midstream, which was madly rushing over and around them.  It was hard to keep our feet from slipping on the wet stones. On reaching the bottom of the Falls we were surprised to find Tryon calmly sketching and smoking his big pipe and quietly giving us the merry “Ha! Ha!”  We were quite anxious to know how he did it.  He explained that he had come down on a big pine tree which grew within three feet of the bank and was fully sixty feet high.  He had dropped his stool and easel before going down himself.  For a wonder, nothing was broken; they just happened to fall on a lot of moss and leaves.  One look at his clothes, face and hands proved that he had paid the price, but he did not mind that.  The pleasure of beating his two young students (as he always called us) was all he cared for.  The effort of getting down and back was offset by the good sketches we had made.  On returning we asked Tryon why he did not return the same way he had dropped into the pocket.  He looked at the big tree, shook his head – then went back with us.”

8. Moses wrote, “Another long tramp into the wilderness brought us to the head of the north branch of the Potomac, a spring as little known as the source of the River Nile.  We tramped through jungles. Forded streams and climbed precipices until I gave out and had to rest and take the good-natured jibes of Tryon and Young.  After a good rest, in which my tramping friends participated, we pushed onto the Potomac.  It is a narrow powerful stream; a number of cataracts, in a series of eleven bold leaps, are a shining flood down the mountain side; gloomy chasms open from either side, dense, dark laurel thickets choke every approach, but through all the vigorous, bright stream leaps and shouts with a mad joy as it forces, its way on to the ocean.  In the early spring this stream must be very powerful as is indicates by the amount of good-sized logs and debris of all kinds piled up on the banks, at present out of reach of the water which, at this season of year, is clear and cold.”

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

10. Moses wrote, “At this time, Tryon was very much in love with a schoolteacher in Haverhill, Massachusetts, whose name was Hattie.  He promised to write her every day and she had promised to reciprocate.  So we spent the evening writing letters to our dear ones.”

Tryon’s relationship with Hattie was announced earlier that summer in the “Salt Lake Herald.” On June 18, 1884, the newspaper reported, “Henry C. Tryon, the scenic artist, wrote from Haverhill, Mass., that he is about to perpetuate matrimony, and he sends a photo of the beautiful lady whom he designates as the victim. In gazing at the picture and thinking of Henry, we wonder how he was able to “work the act” (page 8).

To be continued…