Drypigment.net

Copyright © 2021 by Wendy Waszut-Barrett

Billie Martin was a scenic artist at Sosman & Landis Scene Painting Studio in 1890. He was mentioned by Thomas G. Moses as one of the on-site crew that painted the stock scenery for the Broadway Theatre in Denver, Colorado. After completing some extensive research,  I tracked down the life and career of William H. Martin (1853-1906). Identifying Billie’s birthname was quite a challenge, then everything fell into place.

William Henry Martin was born in Chicago, Illinois, in 1853. He was one of two sons born to Richard Martin (b. 1803) and Mary Sophia Keeling (b. 1829). His older brother was John Albert Martin (1850-1895).

The 1860 US Federal Census listed the Martin household as including Richard Martin, Mary S. Martin, John A. Martin and William H. Martin. Richard worked as a carpenter in Chicago at this time. Near the end of 1860 or at the beginning of 1861, Richard Martin passed away, leaving his much younger wife to fend for herself and two young sons. I have yet to locate any death record or obituary listing Richard. However, in the 1861 “Chicago Directory,” Mary Martin was listed as the widow of Richard Martin, living at “W. Madison nr Lincoln.” She was again listed as Richard Martin’s widow in the 1862 Directory, still living at West Madison, between Lincoln and Wood.

To support her family, Mary began working as a seamstress, an occupation that she would continue for the remainder of the decade. Interestingly by 1867, Mrs. Mary Martin was employed as a costumer, now associated with the theatre. Within the next five years, both of her son’s would also join the theatre. In addition to occupational changes, there were significant familial changes. By 1870 William Martin was living with his mother and brother in the home of his new step-father, John White.  White was working as a day laborer, John A. Martin as a watchman, and William H. Martin as a house painter. Over the years, William would continue to work as a painter, eventually joining the theatre industry, as his mother and brother.

In 1872, his older brother, John Martin, was listed in the “Chicago Directory” as an actor, boarding at 727 W. Madison. William was still employed as a painter, also living with his brother at 727 W. Madison. Interestingly, by 1874, the two were associated with the Myers’ Opera House. John was working as a property man and William as a scenic artist, both boarding at the Davis House. The Myers’ Opera House was located on Monroe Street, between Dearborn and State Streets. The theater opened on Sept. 23, 1872, and primarily featured Minstrel acts. By September 1874, Myers’ Opera House briefly became known as the American Museum, but soon returned to the name Myers’ under the management of E. L. Dickey. In 1874, Myers’ Opera House was advertised as “the only variety theatre in Chicago” (“Chicago Tribune” 17 Oct 1874, page 11).

The Martin brothers’ work at Myers’ was confirmed in newspaper article from 1874.  On April 22, 1874, “The Inter Ocean” published an article entitled “Clothing Smugglers” (page 8). It is a fascinating story in its own right, so I am including the article in its entirety:

“Clothing Smugglers.

For some time, past, John P. Campbell, Special Agent of the United States Treasury Department, has had reason to believe that certain parties in this city were extensively engaged in smuggling clothing from Canada, but he was unable to obtain evidence sufficient to warrant their arrest until a day or two ago, when he struck a lead that panned out pretty well. Yesterday, therefore, he caused the arrest of William Martin, scene-shifter at Myers’ Opera House, and Luther Marshall, the tailor who mends and alters clothing for the establishment. They were taken before Commissioner Hoyne for examination, at which some facts were elicited which may be of interest to certain dealers in [spirituous and malty liquors and certain “burnt cork” artists of this city. Among other matters it was stated that the new pantaloons which Frank Hildreth, the steward at Chapin & Gore’s establishment, wears cost him only $8, not counting the little balance still due to Uncle Sam; Richard R. Halley, a scene-painter at Myers’, it is alleged, wears a $27 suit procured under similar circumstances, Ben Cotton’s pants cost, it appears, just $8, while those of C. Kleist, one of the musicians, cost $11; John Martin, the property man sports a $5 vest; Ed Quinn, one of the violinists, has a $36 suit; Surridge, the sweet-voiced tenor, paid $24 for that overcoat and $10 for those paints; Thomas Rawley of Chapin & Gore’s place, wears a $26 coat and vest; William Keating the bartender, took a pair of pants at $11; and Mr. Lomar, or the Clifton House bar, has a $50 suit. One or two other parties are suspected of wearing smuggled apparel, and all will be called to account in due time. For the present the two men who were examined yesterday afternoon are held in $500 and $300 bail, respectively.”

This article is especially interesting when considering that Mary Martin worked as a seamstress and costumer. Some historical records also list “Canada” as not only her birthplace, but the birthplace of William Martin too. 1874 was also the year that Mary Martin White and John White celebrated the birth of their daughter, Lizzie White.

Although the Martin brother’s work at the Myers’ Opera House ceased in the spring of 1874, they continued living together. The 1875 Chicago Directory listed John Martin as an actor. He was still living with his brother, now each boarding at 186 State Street. I have not yet to located anything further information pertaining to the Martin brothers theatrical activities between 1875 and 1877. Interestingly,  both were married in 1877. On August 12, 1877, John married Annette H. Conley in Manhattan, New York, and two months later, William married Margaret “Maggie” Mulvey on October 25.  So sometime between 1875 and 1877, John moved west. Leaving his brother to remain as a painter in Chicago. When William and Maggie were married in 1877, they respective ages were listed 24 and 22 yrs. old respectively. Like William, Maggie’s parents emigrated from Ireland, her father passed away at a young age, her mother remarried, and then her mother started a second family with her new husband. There appeared to be more similarities than differences between the two as they began a new life together.

In 1880, both William and his older brother John were still working in the theatre, just 800 miles apart. John Martin was employed as a properties man in Manhattan, and William as a scenic artist in Chicago. In New York, John and his wife, Anne H., were living at 257 West Houston Street. Meanwhile William and Maggie were living at 449 West Madison Street in Chicago. The 1880 US Federal Census listed William and Maggie living with one boarder, May Swenson, a seamstress.

William did not remain in Chicago for long, and by 1883, was working in Cincinnati. He was listed in the 1883 Cincinnati Directory as a scenic artist, living at 320 Main. He returned to Chicago by 1886, as his son Edward Joseph Martin was born there on March 20 that year. The Martin’s remained in Chicago for the remainder of their lives, only changing addresses a few times. During the mid-1880s, William was listed in the “Chicago Directory” as a scenic artist, living at 364 Blue Island av.

Both of those years. Interestingly, there was another William Martin, listed as a physician, living just down the street at 322 Blue Island Ave. In 1867, William Martin, Physician, had been living at 361 Blue Island.

It remains unclear as to exactly when Martin began working at the Sosman & Landis Scene Painting Studio. However, by 1890, he was one of four scenic artists chosen by Thomas G. Moses to accompany him on site at the Broadway Theatre in Denver, Colorado. That year, Thomas G. Moses and William “Billie” Martin painted with Edward Loitz, William Minor and Charles Minor. In 1890. Moses recorded,” I had besides Loitz, William and Charlie Minor and Billie Martin.” Ff the project. Moses wrote, “The job was an ideal one.  I made new models and we put in a cyclorama drop, 36 feet high and 250 feet long.  It ran on a track and we could make three distinct skies; a plain, a cloudy and a moonlight.  No borders.  We trimmed the front stuff down to low enough to mask.  All rows were profiled; very effective. There was some time lost in getting started….The Broadway opened August 18^th, with Look’s Opera Company in the ‘Bohemian Girl.’”

For the next decade, Martin continued to work as a Chicago scenic artist. He passed away at the relatively young age of 53 yrs. old, only outliving his wife by two years.

Margaret Martin died on Aug. 19, 1904, and was buried at Calvary Cemetery in Chicago. At the time of her passing, the Martin family was living at 76 Oregon Ave. 

Her obituary was published in the “Chicago Tribune”:

“Martin – Margaret [nee Mulvey] beloved wife of William H., and mother of Edward J. Martin, sister of John and Edward Mulvey, Mrs. E. Walsh. Mrs. B. C. Crowley; John and Nellie Foley. Funeral Monday , Aug. 22, from late residence, 67 Oregon-av., at 9 a.m., to St. Patrick’s church where high mass will be celebrated by carriages to Calvary. Member of Married Ladies’ Sodality and Holy Family Court No. 1. W. C. O. F.”

William H.  Martin passed away on March 3, 1906, Chicago. He was buried at Calvary Catholic Cemetery next to his wife, Section N, Block 3, Lot 33.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Will Hamilton worked as a scenic artist for Sosman & Landis during the early 1890s. He continued to sporadically work with the firm over the years, and even partnered with Thomas G. Moses from 1900 to 1904. Like many of his contemporaries, Hamilton was not only a skilled painter, but also a stage mechanic well-versed in scenic spectacle.

William Franklin Hamilton was born on Dec. 11, 1864, in Warren, Ohio. He was the only son of William F. Hamilton, Sr. (1840-1906) and Mary Ann Moffett (1842-1922). His three younger sisters were Emma (1867-?), Carrie (1871-1957), and Nellie (1878-1946).

The 1870 US Federal Census listed the Hamilton family as living in Harmony, Pennsylvania. At the time, their household included William F. Sr. (30 yrs.), Mary A. (30 yrs.), Charles (9 yrs.), William Jr. (5 yrs.), Mary (3 yrs.), and maternal grandmother Elizabeth Moffet (54 yrs.).

A decade later, the family was still living in Pennsylvania, but had moved to Bradford. In Bradford, William Hamilton Sr. worked as a carpenter. “Willie” Hamilton was 15 yrs. old at the time and working as a clerk.  It remains unclear as to exactly when Hamilton commenced his career in scenic art, however, by 1887 he was working as a scenic artist in Lancaster, Pennsylvania.

On June 15, 1888, the “Northumberland Country Democrat” of Sunbury, Pennsylvania, reported, “W. F. Hamilton, of Lancaster, a scenic artist, is in Sunbury on business” (page 1). He did not remain in Pennsylvania for long, moving to New York later that summer. On August 1, 1888, an article in the “Pottsville Republican” reported, “W. F. Hamilton, a scenic artist, of New York City, is domiciled at the Merchants’ Hotel. He is at work on a 5×5 feet lawyers card with a view of Tumbling Run in the center, which he is placed at the Court House” (page 4).

Hamilton’s travels throughout the region continued that year and included Staunton, Virginia.  The “Maysville Evening Bulletin” published his endorsement for a local photographer on Jan. 25, 1888 (page 2). The endorsement stated:

“Kackley’s Photos.

Staunton, VA., Jan. 23, 1888.

Editor Maysville Daily Bulletin – During a recent stay in your enterprising little city, I had some cabinet photos taken at Mr. Kackley’s gallery and, as an artist, I take much pleasure in saying that the pictures that I received to-day reflect much credit on Mr. Kackley, the style and finish being most excellent.”

By 1890, the “News Herald” of Franklin, PA, announced his visit.  On August 13, 1890, the section entitled “Our Card Basket” reported, “Mrs. W. F. Hamilton, of Johnstown, and her son, W. F. Hamilton Jr., have been the guest of the lady’s brother, B. Moffett. The son is a rising young scenic artist of New York city. He left this morning for Nashua, N. H.” That same day, the “The Oil City Derrick” reported, “Mrs. W. F. Hamilton, of Johnston, and her son, W. F. Hamilton, Jr., scenic artist of New York City, are visiting the residence of Mrs. Hamilton’s brother B. Moffett. Will, who is a former Oil City boy, has established quite a reputation as a scenic artist. He says he has more work than he knows how to get through with, but stole a few days to visit friends and relatives in the Oil Regions, He leaves Wednesday for Nashua, N. H.” (page 1).

By 1892, Hamilton was working in Boston at the Bowdoin Theatre. On Feb. 14, 1892, the “Boston Sunday Globe” credited Hamilton and Arthur H. Davis as painting the stock scenery, including two interior settings. The official scenic artists for the venue were former Sosman & Landis artist Henry C. Tryon and A. H. Davis. Tryon passed away that summer. On September 5, 1892, the Personal Section of the paper included, “W. F. Hamilton, the scenic artist, is again in this city, after having finished his contract placing two curtains in the Academy of Music at Pittsfield” (page 4).

Moses first met Hamilton in 1892 when they worked together on the models and scenery for “Ben Hur,” a touring pantomime tableaux. By 1894, Hamilton married Susie A. Howes (b. 1874) in Boston, Massachusetts. Their marriage certificate confirmed Hamilton’s birthplace as Warren Ohio, and his occupation as “artist.” Little is known of Suzie, other than she was from Belchertown, and that her parents were Frank H. and Ellen V. Howes. The couple was married by a Justice of the Peace. I have yet to find any divorce records, but their marriage did not last. By 1906, William married his second wife, Elizabeth (b.1878).

Like many scenic artists, Hamilton worked all over the country on a variety of projects, especially along the eastern seaboard. By 1896, Hamilton was associated with both the Standard Theatre and Star Theatre in New York, yet continued to travel for work. Hamilton painted scenery for the Thalian Hall in Wilmington, North Carolina in both 1896 and 1899.

On August 29, 1896, the “Wilmington Star” reported, “Mr. F. C. Peckham, of New York, assistant to Mr. W. F. Hamilton scenic artist and stage manager of the Standard Theatre, arrived in the city yesterday and will commence work at once on the scenery and new drop-curtain at the Opera House “ (page 1). The “Wilmington newspaper” later reported:

“Everything is now in readiness at the Opera House for the opening of the season. To use a trite expression, the new drop curtain which has just been completed by the well-known scenic artist, Mr. W. F. Hamilton, of the Standard Theatre, New York, city, is ‘out of sight.’ The new curtain is a very handsome one. The large centre scene represents the coast of Cornwall, showing the high cliffs, upon the tops of which are the homes of the fishermen and natives of this dangerous coast. Mr. Hamilton and his clever assistant, Mr. F. C. Peckham, showed a STAR reporter yesterday several superb set scenes, which they have just completed, in conjunction with the curtain, for the management of the house. The handsome old curtain, which has for many years past done excellent service, has also undergone repairs, and has thrown off its roller and will “slide up” like its companion.” In other words, Hamilton transformed the original 1858 drop curtain by Russell Smith into a fly drop.

In 1897, W. F. Hamilton was listed as a scenic artist in the “Boston Directory.” He was living in room 20 at 611 Washington. From 1898 to 1899 he remained in Boston and was listed as the scenic artist for the Columbia Theatre. On March 10, 1899, “The North Adams Transcript” in North Adams, Massachusetts, published an article entitled “Columbia Scenery and New Exit” (page 5). The article noted, “The trustees of the F.M.T.A. society awarded the contract to Hamilton to complete the work. Of Hamilton as an artist, the article continued, “He has an excellent reputation, and will provide a complete set of scenery, with drop and fireproof curtains. It is expected that some of the scenes will be more elaborate than anything the house has had.” While in the city, he completed numerous projects, including holiday window displays for C. E. Osgood (“Boston Sunday Post,” 12 Dec., 1897, page 15) and Jordan Marsh & Co. (“Boston Daily Globe,” 5 Dec. 1898, page 8).

In 1898, Hamilton delivered stock scenery to the Gem Theatre at Peaks island in Portland, Maine. On June 3, 1898, the “Portland Daily Press” reported, “In addition to the large stock scenery originally purchased there have recently been painted by W. F. Hamilton of the Columbia in Boston, a full oak, a rococo parlor and colonial sets all of which are intended for the opening night and from time to time further additions will be made by the scenic artist as occasion demands” (page 7).

William F. Hamilton was also an inventor of stage effects. Manager Charles H. Yale purchased Hamilton’s “The Dance of the Elements” in 1900. Hamilton’s attraction was added to Yale’s annual production of “The Everlasting Devils Auction.” Yale created a new edition of the production each season, advertising, “New and timely matter, clever novelties, original ideas in scenery and costumes, imported and native artists in all branches of the profession, sumptuous ballets and features that were exclusive to this attraction” (“The Montgomery Advertiser, Montgomery,” Alabama, 14 Sept. 1902, page 11). By 1902, the “Everlasting Devil’s Auction” announced its twenty-first edition. Each year, announcements advertised that existing acts were replaced with “new ideas, features, scenery, costumes, and mechanical effects.”

The “Indianapolis Journal” reported, “Mr. Yale has bought outright from the Inventor, W. F. Hamilton, for presentation solely with this attraction, a new electrical sensation entitled ‘The Dance of the Elements.’ The paraphernalia employed in this scene are elaborate and intricate, and is developed by two clever dancers, who, costumed as the Elements Pirouette among real rain, snow, gold storms and cyclones, these effects being aided by the introduction of a number of new ideas in electric lighting and a multiplicity of harmonious coloring, abetted by special scenic investiture, forms one of the most beautiful light and color ideas that has yet been discovered for theatrical use” (“The Dayton Herald”, 28 Nov. 1900, page 7).

The sale of this invention occurred the same year that Moses partnered with Thomas G. Moses to establish a scenic studio. From 1900 to 1904, the two ran a very successful studio in New York, creating stage shows and amusement park attractions. Moses & Hamilton operated a scenic atusio at Proctor’s 125th Street Theatre. Their staff included Ed Loitz, Otto Armbruster and Al Robert. Projects were plentiful, and consistently spread across three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125^th Street Theater.  Moses was the lead scenic artist at the American Theater, Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Roberts was the lead scenic artist at Proctor’s 125th Street Theatre.

For three years, Moses & Hamilton secured almost more work than they could handle, producing scenery for opera, vaudeville, and other entertainments. Their work for Frederick Thompson at Luna Park included “A Trip to the Moon,” “20,000 Leagues Under the Sea” “War of the Worlds,” and “Fire and Flames.” A few of Moses & Hamilton’s Broadway designs included “Under the Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey” (New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand Opera House from August to September, 1904), “The Medal and the Maid” (Broadway Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls” (Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904). Their work was sought after by Helena Modjeska, John C. Fisher, Henry Savage, and other well-known theatre personalities.

The partnership ended when Joseph S. Sosman and David H. Hunt lured Moses back to Sosman & Landis’ Chicago studio in 1904. When Moses returned to Sosman & Landis, he was promised complete control over design, construction, and delivery of all projects, plus a share in the company. Moses recorded that Hamilton was devastated with the closing of their business, writing, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it, as he saw his meal ticket slipping away.” In addition to numerous theatre installations, Moses & Hamilton had created several outdoor attractions to Coney Island, including “Trip to the Moon,” “20,000 Leagues Under the Sea,” “Fire and Flames,” “The War of Worlds,” and many others. They also designed and ran the own Coney Island attraction, “The Devil, the Man and the Maid.” As with “The Dance of the Elements,” this successful design was purchased by another manager to run.

Hamilton continued to focus on amusement park attractions after Moses headed back to Chicago. In 1904, “The Courier” reported, “W. F. Hamilton, the well-known scenic artist has secured a large tract of land in Winthrop, Mass., facing on the water, where another Luna Park will be created on a more extensive and elaborate scale. A syndicate of capitalists is going to assist Mr. Hamilton in promoting the affair, and by next May, Boston will have a summer place of amusement larger and finer than anything on exhibition at Coney Island. Architects are now busy completing the plans, and the work is expected to begin within a week. The eccentric character Verno, says we are to have Luna Park, a ‘Pike’ or something of the kind on Island Park next summer. The only evidence of it is the stone ‘pier’” (Harrisburg, PA, 13 Nov. 1904, page 9).

In 1906, Hamilton had moved to Pittsburgh and was working on another amusement park. On February 4, 1906, the “Pittsburgh Press” reported, “Manager W. F. Hamilton, of the Dreamland Amusement Co., of this city, has had a force of men at work preparing the foundations and sewering the tract of 20 acres in readiness for the actual building of the array of palaces and other features as soon as Old Sol begins to beam his loveliest in springtime…In W. F. Hamilton, the projectors of the new park have a man who is not only excelled in his line of amusement park promoter int his country. He is not only a practical contractor, but he is a finished scenic artist and constructor, and in addition has some expert knowledge of the laying out of landscape gardens. He was associated with Thompson & Dundy in the first production of their spectacle “A Trip to the Moon” as designer and constructor.”  On Feb. 18 of that same year,  the “Pittsburgh Press” added, “W. F. Hamilton of New York, who has built a number of such great playgrounds, and who is a scenic artist of national reputation, has charge of the latest Pittsburgh Park project” (page 22). The new pleasure land on Jacob Weinman’s property, was called “Dream City and promoted as a “veritable fairyland of color light and architecture.” Weinman, of Pilkinsburg, was the president of the Dreamland Amusement Co. of Pittsburgh and W. F. Hamilton, the manager. Besides the standard amusement park attractions at Dream City, a picnic ground was planned, with rustic bridges, pavilions, and benches, to “bring delight to the seeker after pleasure and nature alike.”

By the end of the year, Hamilton also established the Pittsburgh Sportsman’s Show Association, becoming the vice president and general manager of the organization. He remained in Pittsburgh for a few years. In 1906, he married his second wife, Elizabeth Baylor, there. Elizabeth was quite a bit younger than, born in Philadelphia on March 6, 1878. The daughter of Theodore Baylor (b. 1849)  and Catherine Rass (b. 1849). 

By 1907, Hamilton was associated with the Alvin Theatre in Pittsburgh, listing the venue as his business address in local advertisements for stage equipment.

{Insert Hamilton Ad]

In 1907 Hamilton also began working as a salesman for Messmore & Damon Inc., and was still representing the company as a salesman in 1919 when he traveled to Cuba for the firm.

On Oct. 23, 1908, “The Oil City Blizzard” of Oil City, Pennsylvania, announced, “W. F. Hamilton, a scenic artist, of Pittsburgh, is in the city assisting in the preparation of floats for the Halloween celebration” (republished on October 23, 1948).

The 1910 US Federal Census listed William F. Hamilton as a sign painter in the Theatre industry, living with his second wife Elizabeth Hamilton (32) and his Mother-in-law Jane McNally (69) at 957  Fox Street in the Bronx, NY.

In 1914, Hamilton painted scenery for the big Actor’s Fair at “The White Rats” clubhouse on West Fifty-sixth Street, New York. On May 16 the “New York Clipper” reported, “A complete scenic equipment, transforming every interior of the main floors and roof of the building, electric multi-colored illuminations inside and out, gay bands on the walk outside and myriad gay novelties within are all comprehended in the preparations already completed. W. F. Hamilton, scenic artist, has painted several thousand feet of profile and hanging effects for the carnival. These began at the entrance with a miniature but practical reproduction of an average one-night stand town hall, which is equipped with the average town hall’s complement of scenery, will be presented every afternoon and evening, ten-minute tabloid satires of a half dozen or more of the hoary old-time ‘mellera,’ with ‘Uncle Tom’s Cabin,’ ‘East Lynne,’ ‘Ten Nights in a Bar Room,’ ‘The Silver King,’ ‘The Lights of London,’ and the ‘Corsican Brothers’ included” (page 3).

In 1915, the New York State Census listed William F. Hamilton and his second wife Elizabeth Hamilton living in New York. William was listed as a 50 yrs. old artist and Elizabeth as a 37 yrs. old vocal teacher. That year, their only daughter, Betty Clare was born.

In 1918, Hamilton was again working with Moses, but this time in California. Moses wrote, “I made a lot of models and sketches for floats for Labor Day.  Hamilton came out from New York to superintend the work.  He always drops into a fat job somewhere.” Their project was designing and building floats for the San Francisco Labor Day parade.

In November 1919, Hamilton was still living in New York when he applied for a passport. His application included a letter from Messmore & Damon, “artistic creators in ornamental plaster,” located on Ninth Avenue:

“Secretary of State

Washington, D.C.

Dear Sir,

Referring to the application for a passport to visit Havana, Cuba, made by W. F. Hamilton. Mr. Hamilton is making the proposed trip in our interests for the sale of our products and such contracts as he may be able to secure for floats and decorations for their annual celebration in February. Our association with Mr. Hamilton dates from 1907.

Yours respectfully Messmore & Damon Inc. President. G. H. Messmore.

Hamilton’s passport application noted that in the past he had resided outside of the US for two days (Canada) in August 1919. In 1919, his permanent residence was listed as 409 Bedford Ave. Mount Vernon, NY, and he needed a passport to conduct business in Cuba. Hamilton was planning to spend 6 months in Cuba.

The 1920 US Federal Census listed William F. Hamilton living with his wife Elizabeth (42), daughter Betty (4) and mother-in-law Jane McNealy (also McNelly/McNally – 80). He was working in the “Decorator” industry. About this time, Hamilton shifted his focus and headed to the West Coast.

In California, Hamilton saw the potential for an ever-increasing number of opportunities associated with the Masonic Fraternty. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920.  The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.

By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year. The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (“Sacramento Star,” 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”

Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15).  The article continued,  “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4). The Municipal Auditorium once hosted the Oakland Shrine Circus.

Moses continued to visit with Hamilton whenever he was working on a project near San Francisco. Over the years, Hamilton continually urged Moses to move west.  Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.”  Moses consistently landed work in California and visited his friend. In 1925 Moses wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.” 

The 1930 US Federal Census listed William F. Hamilton as an artist in the newspaper industry, living with his wife Elizabeth C. (52 yrs.)  and daughter Betty C. (14 yrs.) at 751 El Camino Real.

In 1936, Hamilton was still working as an artist, now living at 3404 Clay. He and his wife were listed as Republicans in the California Voter registration, San Francisco. Mrs. Elizabeth C. Hamilton was working as a musician. By 1938, all of the Hamiltons were listed as Democrats. Mrs. Elizabeth C. Hamilton was employed as a teacher, and Miss Bettyclare Hamilton was an artist. They were all living at 110 20^th Ave. in San Francisco.

In 1940 the US Census listed the Hamilton household as including: William (75 yrs. old, commercial artist); Elizabeth (62 yrs. old, vocal teacher); and Betty Clare (25 yrs. old, art teacher). They were still living at the same house in San Francisco.

Hamilton passed away only a few years later, on Nov. 7, 1943. His obituary was published in “The San Francisco Examiner” on November 9, 1943 (page 15). It announced, “HAMILTON – In this city. Nov. 7, 1943. William F., beloved husband of Elizabeth C. Hamilton, loving father of Batty Clare Hamilton. Funeral Services will be held Tuesday afternoon. 1 o’clock, at the mortuary of Halsted & Co., 1123 Sutter St., near Polk.”

On Nov. 9, “The Times” in San Mateo reported:

“WILLIMAM F. HAMILTON.

Funeral services were held this afternoon for William F. Hamilton, for many years a resident of Burlingame, who died on Sunday. Surviving members of the family are the widow, Mrs. Elizabeth C. Hamilton, the well-known vocal teacher, and a daughter, Betty Clare Hamilton. The Hamilton residence was at 751 El Camino Real. Mr. Hamilton was an artist who made study of Indian relics a hobby and of which he had a large collection.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Joe Hart was a scenic artist at Sosman & Landis in 1891. He was mentioned by Thomas G. Moses that year as one of his crew painting on site in Duluth, Minnesota. This is not the same Joseph Hart who established the well-known vaudeville act, Hallen & Hart.

Joseph Henry Hart was born on Sept. 16, 1859, in Philadelphia, Pennsylvania. He was the son of Patrick Henry Hart and Amelia Giltrap. His parents were married in Ireland and started a family before emigrating to the United States. They were on November 21, 1841, in Manchester, England. The son of a tailor, Patrick Hart was working as a dyer at the time. Their oldest son John was named after his paternal father John Hart.  Their second son, George, was named after his maternal grandfather, George Giltrap, a farmer by trade. Patrick, Amelia, John and George emigrated to the United States and settled in Philadelphia, Pennsylvania where Joseph H. Hart was born.

The 1860 census listed the Hart family as including Patrick Hart (head, 42 yrs. old), Amelia (wife, 40 yrs. old), John (b. 1840, son, 19 yrs. old), George (son, 17 yrs. old) and Joseph H. (son, 2 yrs. old). I have yet to locate any other children born in the years between George and Joseph, c. 1843-1860.

The Hart’s were still in Philadelphia in 1862, when Joe was baptized that January at St. Mark’s Episcopal Church in Philadelphia.  Shortly after the Civil War broke out, Joe’s father enlisted in the Union Army and was mustered out that summer in the 143rd Pennsylvania Infantry. He returned home that fall and was working as a watchman by 1863.

In 1863, only Patrick and George were both listed in the Pennsylvania, U. S., Septennial Census, Patrick as a watchman and George as a laborer. I have not been able to locate any record of John in Philadelphia after the Civil War.

By the age of eleven, Joe and his parents moved his to Chicago. His older brother George was married by this point and remained behind. The 1870 US Federal Census listed George and Sarah Hart, were living on 12^th street in Philadelphia.

The same census listed Joe as a student and his father as a “Merchants Police” in Chicago.  Patrick Henry Hart was also included in the “Chicago City Directory” that year, listed as a “mer. Policeman,” living at 202 Polk in Chicago. Interestingly, the “Chicago Directory” also included a listing for a John Hart, working as a painter and living at 93 Mohawk. It is possible that Joe’s eldest brother was the first to move west, but there are SO many Harts that it is very difficult to pinpoint the exact one.

Little is known of Joe Hart’s early life in Chicago. By 1877 he was working as a painter, listed in the Chicago Directory as living at 145 Johnson.  He would have been seventeen years old at the time, and likely just entering the trade after attending public school. By 1878, he was listed as a scenic artist, now boarding at 14 Sholto. Five years later, he would still be listed as a scenic artist living on Shelto, but the house number changed from 14 to 11 over the years.

Sometime before 1876, Joe’s father passed away; I have yet to locate a death certificate. By 1880, however, the census listed Hart briefly living with his widowed mother at 260 Harrison St. in Chicago. As an itinerant artist, Hart worked throughout the region. The earliest mention that I have located of Hart’s scenic art work was in Topeka, Kansas, that year. He was painting stock scenery for the Topeka Opera House and became quite popular with the young people in town.

On August 20, 1880 the “Topeka State Journal” announced, “Scenic Artist’s Surprise” (page 4). The accompanying article reported, “Since Joe Hart, the scenic artist of Crawford’s new Opera House, came to Topeka he has grown to be wonderfully popular with our young folks, especially the ladies, and it is plain to be seen that he already holds a very enviable position in the affections of two or three of the select. While Joe was taking it easy last night before last after a hard day’s work, he was never more agreeably surprised in his life than when eight or ten young ladies and gentlemen all rigged up in their fanciest attires made their appearance at the hotel and inquired for him. Of course, Joe had to go with the crowd and the last seen of him before the latest hours of the night he vanished away in the soft moon light with a gentle Annie hanging to his arm. They went to the residence of one of the parties and enjoyed a delightful evening in his honor.”

Hart finished the project that fall. On Nov. 4, 1880, the “Weekly Kansas State Journal” reported, “STAGE SCENERY” (page 1). The article continued, “Nothing adds so greatly to the fine effect of an Opera House as the beauty, style and variety of its scenery. In this respect Mr. Crawford congratulates himself on having the most complete, latest improved and ample sufficiency in his new house of any theater west of Chicago. All the show people who have been here say so. For all this much of the credit is for Mr. Joe Hart, the scenic artist, who has done his work. Fourteen weeks ago, he slung the first paint. To-day the last stroke was made, the finishing touch put on, the brush thrown aside, the job pronounced finished and to-night leaves for Chicago. During all this time the drop curtain, the flies, the wings, and fifteen sets of scenery have been painted. Among them are some elegant pieces of architecture showing non but skilled minds and trained hands performed any of the labor. For instance, there is the three-arch chamber, double door chamber, centre arch chamber, all fancy parlor; the kitchen, prison, greenroom and landscape that are not surpassed anywhere for attractions of finish and beauty of style. Then the drop curtain itself is worth the praise of any artist’s skill. Mr. Hart is a true and honorable knight of his profession, and leaves behind him a monument of his abilities as an artist that will be admired long after he has climbed the golden stair. He has also made a great many friends with the young folks of Topeka by being a genial, sociable, and courteous gentleman. Should Sells Bros., or anybody else build an Opera House in Topeka, the JOURNAL will be pleased to recommend to them as a No. One scenic artist the name Joe Hart.”

The opera house in Topeka was one of many operated by L. M. Crawford.  Hart continued to paint for Crawford the next year. On June 25, 1881, the “Topeka State Journal” reported “L. M. Crawford returned home this morning from Chicago, and expressed himself enthusiastically on the future beauty and elegance of his opera house, He has engaged the celebrated J. M. Wood to do the interior designing and decorating, and being one of the finest artists in the country he has promised Mr. Crawford a job that can’t be beaten, Joe Hart the scenic artist who painted the scenes for the new old house, was reengaged to do the same work for this house.

J. W. Wood compiled a theatre scrapbook, dating from 1880-1889, now part of the Kansas Memory project collection. The descriptor for the artifact notes, “This scrapbook, compiled by J. W. Wood, contains programs, clippings, illustrations, and other memorabilia of the theaters and performers in Topeka, Kansas, in the 1880s. There are two photographs of the Grand Opera House, which was located at 615 SW Jackson Street in Topeka, and most of the programs are from their productions. A theatrical date book for the Grand Opera House covers the 1884 and 1885 season. These items belonged to Jay House.”  This is an extraordinary collection that gives so much insight into the variety of touring productions at this time.

Here is the link: https://www.kansasmemory.org/item/442684

Hart was still working as a scenic artist in Chicago during 1883, living at 11 Sholto. His mother, Amelia Hart, was now living at 44 Miller. Around this time, Joe Hart is listed on a marriage record, dated Feb 1., 1883, Milwaukee. Unfortunately, the digital record does not list the name of his wife. I believe that this is the same Joe Hart, however, as he soon begins listed as a scenic artist in Milwaukee. Interestingly, there is a later marriage announcement for Joe H. Hart and Lizzie Tipping, both of Chicago, by 1885. It was listed in the “Chicago Tribune,” on Feb 10, 1885 (page 8). I have uncovered very little about his first marriage, only that by 1908, he was listed as “divorced’ when married that year. Regardless, he continued to work in both Milwaukee and Chicago from the mid-1880s to mid-1890s.

In 1887 Joe Hart was working as a scenic artist in Milwaukee, associated with the Grand Opera House and living at 156 Huron. He remained in Milwaukee for quite some time and soon became associated with the new Academy of Music. On April 6, 1888, “The Inter Ocean” reported, “Milwaukee, Wis., April 7 – Special Telegram – H. H. Theile, leader of the New Academy Orchestra, has finished his new opera, “Fort Caramel; or Love in Leap Year,” and will give the initial production at the New Academy April 13 and 14…The stage settings will surpass anything seen here this season, especially the fort scene, that being the work of Joe Hart, scenic artist of the new Academy. In this scene will be used beautiful palms and tropical trees and plants, being appropriate as the story of the opera is laid on the coast of Florida” (page 9).

In 1891, he was working with Moses, Loitz, and Buhler in Duluth, Minnesota. It was a project for Sosman & Landis. On July 11, 1891, the “Duluth Evening Herald” specifical noted the work of Moses, Buhler and Hart.

In 1891, Thomas G. Moses wrote, “Mr. Landis and I went to Duluth, Minnesota, and closed a contract for $8.954.00, which is a very good price and a good-sized job. My work kept me at the studio until March 24th, when I left for Duluth and the Lyceum Theatre, a very fine building.  I found a good hotel in the Spaulding and soon got started on a fine list of scenes. Loitz and Joe Hart were with me, and we had every convenience that enabled us to do good work in a short time.  Mr. Miller the owner, started to work on a railroad section as a boss – saved and invested years ago. He is now worth over $12,000,000.00 which all came from Timber Land.  He is also the President of the Duluth Bank.  He was a fine man and enjoyed being with me. The weather was bitterly cold, but we all enjoyed it.  We worked nearly every night.  We had a big list of scenes and everything had to be done well!  Nothing pleased us better that to know that our work would be mentioned years after. One of the most complete outfits of any theatre.  We completed this work on June 1st and I received a check in full.  Something unusual.”

Joe Hart was also included in “A Biographical Dictionary of Scenographers 500 B.C. to 1900 A.D.” Here is the entry for Hart:

“Hart, Joseph (fl./ 1892), Grand Opera House, Los Angeles, CA, U.S.A. Assistant scene painter to JOHN H. YOUNG for The Ensign, performed at the cited theater on September 15, 1892. Bibliog. 097, playbill, page 288.” Hart would have met Young during the late 1880s in Chicago. By the end of 1888, Young moved to New York and was listed in the 1889 New Rochelle Directory as an New York artist, working at 541 W. 21^st In the 1891 and 1892 directories listed Young was listed as a scenic artist at 1445 Broadway, living in Pelhamville, New York. This did not mean that Young was only working in that area or region of the country. His studio may have been located at the Broadway Theatre in New York, but like all other scenic artists, he would have traveled for work. So, in 1892, Young traveled to California and worked with Hart at the Grand Opera in Los Angeles.  Both continued to work as itinerant artists, going wherever work was available, but establishing their home residence in a large metropolitan area.

From 1893 until 1896 the Milwaukee City Directory continuously listed Hart as a scenic artist, living at 691 30^th. During the early 1890s, Hart continued to live and primarily work in the Midwest. By the late 1890s, Hart relocated to New York and established his own partnership – Hart & Becker. I have yet to identify which Becker Hart was working with at this time; there were quite a few scenic artists with the last name of Becker painting at this time. Although it was short-lived, the two worked alongside some of the best-known artists in New York at the time, including former Sosman & Landis artists John H. Young, Edward Morange and Frank Gates. Hart, Young, Gates and Morange had all relocated from Chicago to New York within a few years of each other.

On October 21, 1899, the “Buffalo Review” listed the scenic artist’s credited with painted settings of “McFadden’s Row of Flats” (page 5). Hart & Becker were listed with Gates & Morange. This was a touring show that appeared at multiple venues across the country, with mechanical effects delivered by Hagan & McDonald. On Nov. 12, 1899, the “Buffalo Times” also listed Hart & Becker as the scenic artists who painted scenery for the “Green Room Fun” at the Star Theatre (page 24). The article reported, “The scenery was made by Claude Hagan of the Fifth Avenue Theater studio, New York, and was designed and painted by Messrs. Hart & Becker.”

Hart & Becker were still working together a year later. On January 14, 1900, the “Buffalo Courier” listed Hart & Becker’s scenic art contribution for “The Sporting Duchess” at the Star Theatre (page 21). The article reported the involvement of several New York scenic artists scenic artists, including John H. Young, Joe Physioc, Ernest Albert, Homer Emens, Gates & Morange, Platzer, and Hart & Becker.” Hart eventually left his partnership with Becker to paint for Gates & Morange. He was working for the firm when his name made the newspapers in 1908.

On June 7, 1908, the “New York Times” reported, “WEDDED TO A SCENIC ARTIST” (page 4). “Miss Ross’s Ostensible Visit to Washington Really a Marriage Journey.”

The article continued:

“We have been married. Will be home the first of the week,” was the message which Mrs. William Caire of 40 West 128th Street received last night from her sister, Miss Grace Elinor Ross, who went to Washington, D.C., a week ago. Ostensibly to visit friends there. That the young woman intended to become the bride of Joseph H. Hart, the principal scenic artist in the Gates-Morange studio, at 155 West Twenty-ninth Street, was never suspected by her sister, although Mrs. Caire knew that Mr. Hart was to be in Washington and that he wired to Miss Ross to come to Washington while he was there.

“Grace and Joe had been engaged for about a year,” said Mrs. Caire last night. “Mr. Hart had been doing some work in Richmond, Va., for the last month or so, and recently completed it, He has to stop in Washington on his way home, and, as his wedding to my sister was to have taken place shortly, anyway, I suppose they decided it might as well be in Washington.” The Washington D.C. compiled marriage index gave the following information: He was divorced , age 45, with birthdate of 1863. The marriage took place on June 6, 1908.  Grace E. Ross was single, white, 30, with birthdate of 1878. Their license was published on June 9,m 1908 in the “Washington Herald. “Joseph Hart, 45, and Grace E. Ross, 30, both of New York City. Bishop F. M. Bristol.

Hart continued to work as a scenic artist in New York for at least another decade before returning to Chicago. He is quite difficult to track in the years following WWI. I have yet to locate any listing for him in either the 1920 or 1930 census reports. Joseph H. Hart died on Sept. 17, 1939, in Chicago. He is buried at Elmwood Park Cemetery, River Grove, Cook, Illinois.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

John Fielding (1855-1915) was a scenic artist who worked at Sosman & Landis from approximately 1896 to 1915. He was born in Ireland between 1855 and 1856, and then emigrated to the United States in 1873. To date, I have uncovered nothing about Fielding’s childhood in Ireland, emigration to the United States, or his early scenic art career in the United States.

The earliest mention that I have located about Fielding’s work as a scenic artist is from 1887. That year he was working at McVicker’s Theatre in Chicago and living at 144 N. Sangamon. He was still living at Sangamon and working as a painter in 1890. Although I have uncovered very little information about Fielding’s scenic art projects, he remained connected with McVicker’s Theatre until the mid-1890s. In 1894, he was listed as a scenic artist at the venue, working alongside electrician Mortimer C. Richards and properties master Robert Norton.

On Dec. 14, 1894, the “Chicago Tribune” reported, “Novel Exhibit at the Doll Show. One of the novel and interesting exhibits at the Charity Doll Carnival which opens next Monday morning at Battery D will be an exact facsimile of the stage of McVicker’s Theatre, which will be a contribution of Robert Norton, property man; John Fielding, assistant scenic artist; and Mortimer C. Richards, electrician of that playhouse. Work on the miniature stage has been in progress more than a week and yesterday it was nearly completed. The proscenium, which is made of papier mâché, and exactly similar in design and form of McVicker’s, is five feet six inches wide and fir feet nine inches high. The stage is about five feet deep. The setting is the one used in the second act of “The American Heiress,” which the stock company produced last summer. It shows an Italian Garden scene, with the Bay of Naples and glimpses of Naples and Herculaneum in the distance. The scene is made from the original models, which are on a scale of one-half inch to the foot, which will make it just one-twelfth the size of the stage at McVicker’s. It is wired for electric border and side lights and other devise used in illuminating stages. Mr. Norton said yesterday that it required less work to equip the regular stage with new scenery than the one he is now arranging for the charity show.”

A 1900 US Federal census report recorded that he was married Elizabeth Mulkally in 1885, although I have yet to locate any marriage license or public listing of the event. Unfortunately, there is no 1890 or 1910 census report to confirm any of this information. However, Elizabeth was born in Chicago on November 22, 1856. She was the daughter of John Mulkally and Jennie Flaherty, both Irish immigrants.

In 1896, the “Chicago City Directory” listed John Fielding as a scenic artist, living at 2128 Wilcox Avenue. He would retain this title in the city directory for the next few years, before reverting to painter and stagehand. 2128 Wilcox Avenue would also remain the Fielding family home for decades, well after his passing and into the 1940s.

Jon Fielding was also mentioned by Thomas. G. Moses in 1899. That year, he traveled to California with Moses and Edward Loitz. The three painted scenery for John C. Fisher at his opera house. Of the project, Moses wrote, “June 2^nd, found me on my way to San Diego; Loitz and John Fielding going with me.  Lost no time in getting to work.  I had a nice room at the Brewster Hotel.  Had my meals at Rudders, as Fisher paid all my expenses.  My salary was clear, and a lot of night work was necessary to complete the work on time.  The company soon arrived and started rehearsals.  We went through two earthquakes which were a sensation to many of us.”

The fact that Moses selected Loitz and Fielding to accompany him on site says a quite a bit about their basic skills as scenic artists. Moses traveled with a select few individuals over the years, and retained even fewer of them. Keep in mind that in 1899, Moses and Fielding were both 43 yrs. old, and Loitz was 35 yrs. old. This was an incredibly experienced scenic art crew to have on site in San Diego. For years, Loitz had accompanied Moses from one job to the next, whether it was a project for Sosman & Landis or another studio. In a sense, Loitz was Moses’ “right-hand man” for almost four decades. Fielding must have also been an incredibly skilled painter, or Moses would not have brought him along.

Scenic artists who accompanied Moses were highly-skilled and fast painters; anyone who did not meet up to his standards did not last for long. So, the fact that Fielding was on site with Moses, at this particular point in Moses’ career suggests that Fielding was talented.  For a little more context, 1899 was a pivotal point in Moses’ career. By 1900 he left the firm to establish his own studio, partnering with William F. Hamilton to establish Moses & Hamilton. However, in 1904, Sosman pleaded with Moses to return to Chicago. At the time, Perry Landis was incredibly ill and Sosman need the help. When Moses returned to Chicago, he became the vice-president of the firm, and was directly responsible for all design, construction, painting and installation from that point forward.

When Fielding was working with Moses in 1899, it was in the midst of a hiring war, as Henry Savage, John C. Fisher, and Jacob Litt each wanted to hire Moses on their team. Sosman & Landis did not want their star scenic artist to leave their studio, and were enticing him to say. At the time, Moses recorded that his “vagabond shoes” were “longing to stray.”

By 1899 Moses had already painted “special scenery” for Litt’s production of “The Club’s Baby,” an English farce at McVicker’s Theatre. Litt wanted to hire Moses as part of his production team, offering a substantial salary to leave Sosman & Landis. At the same time, Henry Savage asked Moses to paint for his opera company in New York.  John C. Fisher’s was for the short term and included painting all of the settings for Mme. Modjeska upcoming tour. Moses had to make a decision and wrote, “Litt was rather put out when he learned I was going with Fisher and Savage.” This also did not sit well with Sosman and Landis, as they wanted Moses cranking out work back in the main studio. Keep in mind that when Moses accepted work outside of the main studio, Sosman & Landis received their cut, so they really could not say “no” to him. Moses’ contract with Fisher was from June 2 until August 10, often a good time to take a break from the main studio.

Fisher’s Opera House had opened in 1892, with the building situated on an entire block between Fourth and Fifth Streets. The stage was 43 feet wide by 43 feet deep with a grid 74 feet above the stage floor.  The venue was illuminated with an electrical system; 1,000 sixteen-candle power from Edison incandescent lamps. Moses recorded that he, Loitz and Fielding lost no time in getting to work immediately upon their arrival in San Diego. On August 27, 1899, the “San Francisco Chronicle” reported, “Thomas G. Moses of New York and a staff of well-known artists have been at work for the past few weeks painting scenery for the tour. This includes elaborate productions for the play of “Marie Antoinette,” which is to be the most pretentious in Modjeska’s repertoire. Other strong plays are “Macbeth,” “Marie Stuart,” “Much Ado About Nothing,” “Gringoire,” and the “Ladies’ Battle,” the last two being a joint production” (page 31).

Moses wrote that his “salary was clear and a lot of night work was necessary to complete the work on time.” The project went well and Moses wrote, “The Modjeska company gave me a fine send-off – a large tent was put up on a vacant lot; refreshments were served and different members of the company did a little stunt. After a hearty God-speed, I was off for New York City. I regretted not being able to stay until Modjeska opened, but I knew I had a big time ahead of me in New York.”

Fielding returned to Chicago, and continued to work in the Windy City for the next sixteen years, living with his wife and daughter. Fielding passed away on July 1, 1915, and was buried July 3 at Mount Carmel Catholic Church Cemetery, Hillside. At the time of his passing, his occupation was listed simply as a “stagehand,” and he was still living at 4213 Wilcox Ave. John Fielding was only 58 years old when he died.

His obituary was published on July 2, 1915, in the “Chicago Tribune”-
“John Fielding, beloved husband of Elizabeth Fielding, fond father of Genevieve Fielding. Funeral from his late residence, 4213 Wilcox-av., Sat., July 3, at 9 a.m., to St. Mel’s church, where high mass will be celebrated; autos to Mount Carmel. Member of Married Men’s sodality. Member of I. A. T. S. E. local No. 2. Presentation ct. No. 731, C. O. F.”

His death certificate listed that his father’s name was also John Fielding, so, I began exploring the various lives and careers of various men named John Fielding, focusing on one in particular who worked in the theater profession.  The problem with touring theater folk, however, is that they are often not listed in nineteenth-century census reports. Being on the road so much of the time meant that performers and stage technicians were often missed, many not having a permanent address. The best option for pinpointing theatrical activities of touring individuals is newspaper advertisements, articles, and programs.

There was another John Fielding who must be mentioned at this point; his birthdate, Irish lineage, and work in Chicago is a little too coincidental to dismiss entirely.

John J. Fielding (b. abt. 1844) and Maggie Mcloughlin Fielding (1848-1913) were a well-known Irish song and dance team, working as comedic performers in the 1870s and 1880s. They were members of Tony Pastor’s famous road company, and performed at theaters in both England and the United States. In 1870, the US Federal Census listed John and Maggie Fielding as performers, living in Cincinnati, Ohio. On March 17, 1872, the “Detroit Free Press” reported, “On Monday John and Maggie Fielding, character artists will make their first appearance in this city” (page 1). They soon moved to Chicago, however, and began performing at the Bohemian Hall on the West side of Chicago.

There was another Chicago mention that is significant…

Fielding was most notably associated with the Jolly Corks in New York and organized the first lodge in Chicago; this later became Lodge No. 4 of the Benevolent and Protective Order of Elks (BPOE). Fielding is even featured in “The Official History of Chicago Lodge No. 4 B.P.O.E.” by Charles Edward Ellis, published in 1910.

For a little touring context…in 1873 the two were performing at the Bowery Theatre in New York, but soon returned to England in 1874 where they performed ay Marylebone Music Hall. In London, there were billed as “American Delineators of Hibernian Humour, whose successful reception here proves that a refined entertainment can be appreciated by a refined audience” (“The Era,” 13 Dec. 1874, page 8).  But 1875, however, the were back in the US and performing at New York’s Third Avenue Theatre.  They soon moved back to Chicago where they remained until 1878.

On September 8, 1878, the “Chicago Tribune” announced, “Mr. and Mrs. John Fielding left yesterday for Detroit to begin an engagement at the New Coliseum of that City” (page 12). On May 18, 1879, the “Detroit Free Press” reported, “COLISEUM – Two separate and entirely new attractions to Detroit audiences will be presented this week at the Coliseum, the first will be J. Z. Little, in the romantic nautical drama ‘Riving Jack, or Saved from the Wreck,’ and the second being a capital list  of specialties. John and Maggie Fielding will appear in an adaptation of ‘H.M.S. Pinafore,’ by Mr. Fielding called ‘Little Pinafore,’ and in which the most popular music of the opera is reproduced” (page 6).

While John Fielding Sr. and his wife were living and working in Detroit that year, another John Fielding was playing on the baseball team for Haverly’s Theatre in Chicago, likely John Fielding Jr.

On May 3, 1879, the “Inter Ocean” reported, “The attaches of Hooley’s and Haverly’s theaters got them together yesterday and had some fun. The amusement was the popular game of baseball, nine from one house bracing themselves again nine from the other. The Hooley’s Club came off victor, beating the Haverly club by six runs, the score being 30 to 24…The nines were composed as follows: Haverly’s John McKinzie, A. W. Morse, Charles Huck, Henry Howland, Aaron Peterson, John Bell and John Fielding” (page 6).

The 1880 US Federal Census listed the couple living in New York City, but they continued to tour.

On September 3, 1882, the “Detroit Free Press” announced, “A Second Debut” for the John Fielding Company” (page 15). The article reported that John Fielding, “with his wife Maggie, has been known during the past fifteen years as one of the best vaudeville attractions in the country.” The article further described that Fielding “made his first appearance on stage in the old Metropolitan Theater, which stood where the Theatre Comique building now is. The debut was made twenty-three years ago under the management of Ed Sherlock. Mr. Fielding having been graduated from the composing room with a desire to play ‘leads’ and ‘heavies’ in a legitimate dramatic company. He soon realized that he was better calculated for comedy and for several seasons played comedy in character parts in stock companies throughout the country. Then the variety theater coming in vogue, Mr. and Mrs. Fielding adopted that branch of the profession, making Irish dramatic and musical sketches a specialty, establishing themselves firmly in the public. Now after twenty-three years of show life, Mr. Fielding starts with his first company, playing the Irish comedy drama entitled ‘False Friendship,’ and he feels that it will be a good idea to take the plunge in the city in which he made his first appearance.” On October 2, 1881, the “Detroit Free Press” announced,

“Park Theater. Eight performances, including Tuesday and Saturday matinees, will be given at the Park Theater this week by Col. J. H. Wood’s ‘Electric Congress’ and Harry Richmond’s Comedy Company. Among the principal people in the organizations are the well-known John and Maggie Fielding” (page 13).

On September 5, 1883, the “Detroit Free Press” announced, “Maggie Fielding, of celebrity in the theatrical world, has joined the Barry Fay Combination. Her husband, John Fielding, is manager of the Novelty Theater at Muskegon” (page 4). His stint at the Novelty Theatre was short-lived, and soon he established his own company. By 1884, John Fielding’s Company was performing at White’s Theatre in Detroit. On March 28, 1884, the “Detroit Free Press” reported, “WHITE’S – There was a large audience at White’s Theatre last night to witness the first performance in this city by John Fielding’s company, the play being a very active and continuously ludicrous composition called, ‘The Corner Grocery’ and based on the antics and incidents in the life of that reprehensible myth, ‘Peek’s Bad Boy.’”(page 4).

The Fieldings were still touring in the late 1880s. In 1886, they passed through Illinois, with the “Rock Island Argus” celebrating the performances of both John and Maggie (15 Oct. 1886, page 4). On February 22, 1887, the “Nebraska State Journal” announced, “John and Maggie Fielding in song and funnyisms at the People’s Theatre tonight” (page 8). This same year John Fielding Jr. Was working as a scenic artist at McVicker’s Theatre in Chicago. Although, I have yet to locate a death certificate or obituary notice, it appears that John Field passed away in the late 1880s.

By 1890, Mrs. Maggie Fielding, was back in Chicago, this time living by herself at 293 S. Clinton St.  At the same time, scenic artist John Fielding was working as a painter and living at 144 N. Sangamon in Chicago. Although a widow, Maggie Fielding remained quite well-off and continued to work as an actress in Chicago for another decade. Eventually, she moved east, where she he passed away during the summer of 1913. On Dec. 31, 1913, the “Evening World” in New York announced, “Maggie Fielding, died July 15, 1913; total estate $7,716; net value $6,378” (page 7).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

George Schultz was a scenic artist at Sosman & Landis in 1911, although he may have worked sporadically worked for the firm since the 1890s. In 1911, Thomas G. Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Sosman & Landis’ main studio was located on Clinton St. The 20^th Street Studio was a secondary space that primarily focused on specialty projects, such as Masonic scenery.

Schultz is primarily remembered for his easel art, especially his landscapes and marine scenes. Like many scenic artists, he began his career in ornamental arts. Purportedly, his was employed as a “decorative painter” by the age of fifteen, painting pieces of china. Although this is noted in the majority of biographies about Schultz, I have yet to locate any information pertaining to a specific company at this time.

Schultz was born on April 17, 1869, and grew up in Chicago. His parents were Walter E. Schultz and Elizabeth Moizen. He was the eldest of three sons born to the couple. His younger brothers were Charles and Walter Schultz Jr. As a young child, his family’s household also included a grandmother, Anna Regnery.

By 1880, the US Federal Census listed the Schultz family as living in at 339 N. Franklin St. His father was employed as a bookkeeper that year, with George listed as a student. He was the the only child old enough to attend school at the time. The household now included a different maternal grandmother, Sarah Mazin.

After attending public school, Schultz began to take classes at the Art Institute of Chicago. By 1888, the Chicago City Directory, listed his occupation as an artist. At the age of twenty-one, he was living on his own at 2163 Archer Ave. Between 1889 and 1925, Schultz exhibited over one hundred works at the Art Institute of Chicago Annuals. Like many scenic artists at this time, he joined numerous fine art organizations, and was a member of the Palette & Chisel Club, the Municipal Art League of Chicago, the Arche, the Cliff Dwellers, the Union League Club, and the Chicago Water Color Club. Schultz was a charter member and later president of the Water Color Club.

He was featured in the “Chicago Tribune” on January 18, 1891: “George F. Schultz, a young water colorist who, when he goes to nature for inspiration frequently does some remarkably clever things, has taken a studio in the Japanese Building” (page 12). The Japanese Building was located at the corner of State and Jackson Street, with dozens of suites for artists and musicians. Schultz also exhibited his work at O’Brien’s Gallery in 1892, and by 1893, partnered with William Wilson Cowell to operate a studio on Rush Street. On April 23, 1893, the “Chicago Tribune” announced “Messrs. Cowell & Schultz have their establishment on Rush Street a number of their recently finished water-colors. Some marine views are cleverly executed, especially showing a number of fishing boats at anchor on a misty morning. Two landscapes by Mr. Schultz are especially pleasing. Both are evening scenes, one a gray effect and the other a sunset” (page 37).

He married Katharine Karr Hagenlotha (1869-1942) on Sept. 20, 1893.  The couple celebrated the birth of four children between 1894 and 1907; three daughters and a son. His children were Beatrice M. (1894-1982), Katherine (1899-1940), George Jr. (1899-1940) and Florence (1907-1990). As his family grew, so did his reputation as an easel artist.

In the 1890s, Schultz’s artistic career began to soar. He was featured in a solo exhibition at Thurber’s Gallery in 1896, again exhibiting at there in 1898. Regional sketching trips included Delavan, Wisconsin, the coast of Maine (Monhegan Island), Indiana and even Mexico. On Feb 16, 1896, “the Chicago Tribune” reported , “Last summer he visited Monhegan Island, the favorite resort of Edwards. Triscott, and other Eastern artists, away up on the Maine Coast. Most of the pictures he now shows are Monhegan views and the result of his sojourn. Many are coat scenes. In nearly all rocks abound, and Mr. Schultz has been eminently successful in catching the effects of sun and shadow on sea and land and rocky shore. One of the pictures, “A Misty Morning,” the artist calls it, is a really powerful bit of color work such as is rarely attained with aquarelles. The sun breaking through the mist and the softened aspect of the rocks are presented with such strength as many a man would have difficulty showing in oils” (page 28).

On April 10, 1898, the “Chicago Tribune” advertised his twenty-five paintings on exhibition at Thurber’s, including “Gray Day, “ “Along the River,” “Hoeing Cabbages, “A Lowery Day,” “Quietude,” and “Morning” (page 43). An illustration of “Hoeing Cabbages” even accompanied the article.

Although primarily known for his watercolor studies, Schultz also worked in oils. An article in the “Inter Ocean” commented on Schultz’s “delicate, loose and pleasing” technical skill.

In 1902, Schultz’s work “Fishing House” was exhibited at the Municipal Art League of Chicago’s annual exhibition, That same year his “Reflections” was featured in the March issue of “Brush and Pencil.” By 1906, artworks by Schultz were accepted as part of the Palette and Chisel Club’s permanent collection.  His membership in the Club bought him into contact with numerous scenic artists at Sosman & Landis, including Thomas G. Moses. The next year, Schultz’s paintings were featured in a solo exhibition at the Art Institute, and he became a charter member and secretary of the Chicago Water Color Society. He was later elected as the club’s president in 1912.

The 1910 US Federal Census lists the Schultz family living at 1158 Perry Street, listing Schultz as an “artist” who worked in the “picture paint” industry. In 1911, Schultz was listed as the secretary for the Chicago Society of artists. Fellow scenic artist Frank C. Peyraud was also an officer in the organization at the time, both working at Sosman & Landis. Despite success as easel artist, both continued to paint for the stage. Again, in 1911, Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Schultz is no different than the hundreds of scenic artists at this time who were recognized for both their easel art and stage art. It was advantageous to live with one foot in the fine art work and the other in the theatre industry; a mutually beneficial situation, joining networks and resources from the two worlds. The promotion of these two compatible careers had already been recognized in the 1880s when the first Scenic Art exhibition took place, publicly recognizing the work of scenic artists as fine art.

On April 30, 1913, “The Dispatch” of Moline, Illinois, reported, “Rock Islanders who are much interested in art will find a fine display at the Harper House which includes about sixty canvases by leading American artists. The collection was sent by the Artists’ Guild of Chicago for the purpose of promoting art and encouraging a keener interest in the works of American Painters” (page 3). The show was advertised as “direct from the Fine Arts building of Chicago.” It not only included the work of Schultz, but also another former Sosman & Landis scenic artist Frank C. Peyraud. In 1913, he painted a lovely picture of his daughter Beatrice. It recently sold at Brunk  Auctions for $2,016, much more than the estimated $1,000-1,500.

He exhibited “Converse with Nature’s Charms” at the Carnegie International in 1914, also exhibited at the Iowa State Fair that year in the newly constructed women’s and children’s building on the fairgrounds. In 1916 and “The Voice of the Brook” at the Pennsylvania Academy of the Fine Arts in 1916. On May 19, 1918, the “Chicago Tribune” reported, “the William H. Tuthill prize of $100 was awarded to George F. Schultz for his marine “Surging Seas.” The prize was limited to a Chicago artist and to a pure water color, as Mr. Tuthill wishes to encourage the medium. The painting shows an angry, restless seas hurling itself in vain attacks against a rock guarded shore from which is it thrown back again and again with increasing violence till over the green hunger of the tide a cloud of white foam is cast breaking back on itself in feathery masses” (page 47). That same year, a solo exhibition of Schultz’s work was presented at the Marshall Field and Company department store in Chicago. This is supposedly his last-known solo exhibition. I am skeptical as the art historians who state this also cite an incorrect year for his passing.

By 1920, the couple was still married and living in another rental home at 4013 Green View Ave., still listing Schultz’s profession as “artist” in the “professional” industry. Their children were still living at home, with Beatrice working as a clerk in the Oil Concern industry, the younger Katherine working as a stenographer in the Building Waters industry, and George Jr. working as a tire-maker in the automobile Pates industry. The youngest child, Florence, was still listed as attending school.

Within the next ten years, everything changed for Schultz. His marriage falls apart, he moves out and his children remain with his ex-wife who does not acknowledge the separation; her husband just fades from the familial picture.

The 1930 US Federal Census for George Schultz listed him as a divorced male, “working on account” as an artist. He was now living in a rental unit at 1521 Warren Boulevard. Meanwhile, his wife Katherine was still listed as married, now listed as the head of household, living at 1900 Newport Ave. in Chicago. George F. Schultz Sr. is no longer at home. Her household was listed as including her son George Jr., daughter Florence, daughter-in-law Yvonne Schultz, Son-in-law Owen M. Roubadeaux, daughter Beatrice M. Roubadeaux, granddaughter Florence M. Roubadeaux, and a boarder named Henry J. Benallack.

Although many art historians, fine art galleries and online sellers list his death as 1934; this is simply incorrect. This is the problem with cut-and-paste biographies; an incorrect statement is repeated so much that is becomes accepted fact. In actuality, George lived until 1950. In May 1939, George Frederic Schultz applied for Social Security. The next year, he was included in the 1940 US Federal Census.  At the time of the census report, Schultz was 70 yrs. old and still employed as an artist in the “Landscape picture painting” industry. He was living in a multi-unit building at 1454 Sedgwick St. in Chicago, by himself. He lived for another decade, outliving his ex-wife by eight years. My guess is that he became estranged from his family over the years.

His wife Katherine passed away on September 22, 1942. Her obituary was published in the “Chicago Tribune” on Sept. 24, 1942 (page 26): “SCHULTZ – Katherine Karr Schultz, Sept. 22, loving mother of Mrs. Beatrice Roubadeaux, Florence, and the late George Schultz, and Mrs. Katherine Eger, fond sister of Mrs. Rosalie Willistein. Funeral Friday afternoon at 2 o’clock from funeral home, 6216 N. Clark st, to Graceland.”

Schultz passed away on Sept. 5, 1950. His obituary was published in “The Chicago Tribune” on September 7, 1950 (page 22):

“SCHULTZ – George F. Schultz, 1434 Sedgewick street, Sept. 5, 1950. Beloved husband of the late Kathryn Schultz, fond father of Beatrice Roubadeaux and Florence Schultz, brother of Charles H. Schultz. At chapel, 2121 W. 95^th street, where services will be held Friday, Sept. 8, at 11 a.m. Interment Mount Hope.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Nick Pausback was a scenic artist who worked at Sosman & Landis from approximately 1908 until 1916, primarily painting at the firm’s annex space on 20^th Street in Chicago.  Although the firm’s main studio was located on Clinton St., they frequently leased and staffed annex spaces during times of peak productivity. These secondary spaces handled much of the “specialty work” that was contracted, or subcontracted by other companies. The specialty work was directly supervised by Thomas G. Moses (1856-1934). Beginning in 1904, Moses was responsible for all design, construction, painting and installation of projects at Sosman & Landis at both studios.

In 1908 Moses, wrote, “During this year I have split my time between 20^th Street and Clinton Street.  Did a great many scenes and drop curtains and we kept a good force at 20^th Street.  I depended a great deal on Pausback to look after the work while I was away.”

Nicholas “Nick” John Pausback was the second of seven children born to Nickolas J. Pausback (1853-1900) and Caroline Helbing (1859-1943). Born on May 5, 1881, in St. Louis, Missouri, his siblings were: Maria Pausback (b. 1879), Joseph William Pausback (b. 1883), Eva Pausback (b. 1884), August Pausback (b. 1885), Estelle “Stella” Pausback (b. 1888), and Clara “Kate” Pausback (b. 1889).

In 1900, Pausback was still living at 3113  Magnolia Street, St. Louis, with his family. At the time, he was 19 yrs. old. The US Federal Census that year listed Nick’s occupation as “artist” in the “painting” industry.  Interestingly, he was the only child in the family who worked in the theatre, while his siblings were employed as milliners, clock salesmen, mill clerks, and saloon employees. Pausback’s mother, Caroline, even worked at a grocery store.

By 1903, Pausback was working as the scenic artist at the Imperial Theatre in St. Louis. On January 21, 1903, the following Want Ads was placed in the “St. Louis Globe-Democrat” on page 8:

“WANTED – Boy to help scenic artist. Apply Pausback, Imperial theater, stage entrance, 9 a. m., Wednesday.” Regradless of his position at the Imperial, Pausback continued to paint scenes at other theaters throughout the region.

In 1905, he painted scenery for the new Grand Theatre in Owensboro, Kentucky. On July 16, 1905, “The Owensboro Messenger” reported, “The painting of the scenery at the Grand will be finished this week, and no theater in the country will be more elegantly equipped. The main drop curtain is an art creation of exceptional merit. In the center is a Venetian scene of beautiful design. All the scenery is artistic and varied in design. There are sixteen pieces of woods scenery, two drops, four borders and ten wings. There are fourteen pieces in a fancy chamber set. In addition  to these there is scenery showing plain interior rooms, kitchen, a prison scene, a street scene, landscapes and garden. All of the work was done in the house. The painting was done my Nick Pausback, of St. Louis, who has been at work at the Grand for six or seven weeks. The frames were also made in the building. A rack for scene painting is permanently installed in the building, and new scenery can be painted as required. The Grand will open the latter part of August, with Four Hunters, a musical comedy” (page 5).

On July 18, 1905, a second article in the “Messenger” provided a little more information about Pausback’s works: “Mr. Nicholas Pausback, of St. Louis, who has the contract for the painting of the scenery, is diligently at work and will be through in a few days. He painted the finishing touches on a large outside drop curtain Saturday morning. This curtain is made of heave asbestos. It is painted with a beautiful Venetian scene. It is a most artistic piece of work. Two drop curtains and several fly wings will finish the equipment of scenery and Mr. Pausback will begin them immediately. One of the scenes is fitted up with sixteen pieces and another has fourteen. The latter is a fancy parlor scene painted in Japanese pattern. It is very handsome. Thirty hanging pieces, including drop curtains, etc. will be in place during any performance” (page 6).

On July 22, 1905, the final article in the “Messenger” reported, “The work of fully equipping the new Grand theatre is progressing rapidly. Mr. Nicholas Pausback of St. Louis is the artist employed. He has painted several scenes and is now at work on the others. There will be about twenty hanging scenes and about seventy-five all told. The greater part of these will be in frames. Stage carpenter McDaniel, has the work of making the frames and fitting them well in hand. When this work is completed the Grand will have one of the very best equipped of stages. The two “tormentors,” painted by Mr. Pausback, having been placed and they are receiving the favorable criticism of all who see them.

That same year, Pausback was also engaged to paint new scenery for the new opera house in Central City, Kentucky, located ninety miles due north of Nashville, Tenness.  On July 26, the “Messenger: announced, “Mr. N. Pausback, who is engaged in painting scenery at the New Grand theatre, has returned from Central City, where he has secured a contract to paint new scenery in the opera house at that place” (page 8). His work in Central City did not last for long. Only four years later, the opera house went up in flames; the fire started during commencement exercises for the Central City School’s music class. The music teacher and children ranging from ages 5-12 were the main victims.

Just prior to his work in Kentucky, Pausback was married on June 29, 1904. His bride was Ottilia Creszenzia Groebl, and the wedding ceremony was held at St. Francis de Sales Catholic Church in St. Louis. Ottilia (1883-1966) was the daughter of Peter Gröbl and Creszenzia Gmeinweise. Nick and Ottilia celebrated the birth of six children: Nicholas, Elvira, Raymond, Mary, Lawrence, and Therese.

After the birth of two children, Pausback moved his family to Chicago in 1907, where the remaining four children were born. Although it remains unclear as to when Pausback started at Sosman & Landis, by 1908 he was supervising the 20^th Street Studio while Moses was away.  At In 1909, Moses wrote, “In January I went to Clinton Street to stay for some time.  Sosman seemed to think I was needed there more than at 20^th Street.  Pausback took charge of the 20^th Street studio.” Pausback had already taken charge of the 20^th Street studio during Moses’ absences the year before. 

The 1910 US census listed Pausback as an artist in the scenic studio industry, living with his family at 651 West 61^st Place in Chicago. In 1911, Moses again records that Pausback took charge of the 20th Street studio, writing “We started Brewer’s work at the 20^th Street studio, with an extra number of men.  Pausback had his hands full; [Fred] Scott acted bad.  Got Geo. Schultz on the staff at 20^th Street.” Pausback continued to work at Sosman & Landis until 1917.

Pausback also started taking outside projects with Moses, grabbing work whenever he could to support his growing family. In 1916, Moses wrote, “Pausback went to the 20th Street studio, part of which we rented for a couple of months.  We put plenty of help with Pausback to rush the work through, and I think he will be able to pull it out, as we are too busy at Clinton street to take much of it.” Pauback also traveled with Moses to New York that year at Thanskgiving. Of the project, Moses wrote, “We expressed the scenery and November 28^th it was all up.  I did the society stunt while Nailer and Pausback put all the work up, and for a wonder everything fitted.” Sometime during 1917, Pausback began working for another company.

In 1918, Pausback’s WWI Draft Registration listed that he was working in the advertising department of Swift & Co. in the Union Stock Yards of Chicago.

Already in 1903, Swift & Company employed 5000 workers at its slaughtering plant in Chicago’s Unions Stock Yard. Here is a little history about the company: http://www.encyclopedia.chicagohistory.org/pages/2869.html

This was a big career shift for Pausback, and I have to wonder what type of advertising he was doing for the firm; whether it was designing advertisements, painting signage, or something else for the beef business. In 1918, Pausback and his family were living at 6539 Ellis Ave. In his draft registration, Pausback was described as tall and slender, with grey eyes and dark brown hair.

The 1920 US Federal Census listed the Pausbacks as still living on Ellis Avenue in Chicago, with Nicholas’ occupation again listed as an advertiser in the “Packing Co.” industry [beef packaging].

Eventually Pausback struck out on his own and established a scenic studio. In 1927 Pausback Studios was located at 3727 Cottage Grove Ave., Chicago. Things were continuing to look up for Pausback by the late 1920s; work was plentiful, and there was a new and insatiable client – academic theatre. Educational and academic institutions became a primary client for Pausback Studios, as well as many theatrical supply firms at the time. Public schools were in a constant state of demand. Publications focused on how amateur productions could forgo the need of any theatrical expert – “do it yourself” became a popular approach; you just needed enthusiasm and an instructional manual to produce a show.  And this is what Pausback also cashed in on. In 1928 Pausback also wrote a catalogue entitled “Stage Craft.” It was listed in the “Catalogue of Copyright Entries,” published by Pausback scenery company in Chicago, 1928. His publication was included in the “Catalogue of Copyright Entries, 1929.  I have yet to actually see the book, however, Worldcat shows copies in New York, Washington D.C. and Cleveland, here is the link: https://www.worldcat.org/title/stage-craft/oclc/5438657&referer=brief_results

Pausback also began partnering with other business leaders to deliver scenery for city events. On Dec. 2, the “Chicago Tribune” pictured Pausback in the backrow of a group of men under the heading “Business Men Help Plan Yule Trees” (page 12). He was one of several Chicago business men who met to plan the construction, lighting and decoration of giants Christmas trees in Chicago parks for the 1928 holiday season, partnering with F. H. Fisher of F. H. Fisher & Co; W. E. Bell, electrical engineer of the south park commission; Gerhardt Meyne of the Meyne construction company; C. N. Hidge of the Illinois Bell Telephone Co.; A. J. Vogele of the Commonwealth Edison company; Harry S. Towle, electrical engineer of the west park commission; Pierre Bloiuke, architect; and Thomas F. Queenan, electrical engineer of the Lincoln park commission. Pausback presented some new ideas for the outdoor tree décor. On Dec. 9, 1928, the “Chicago Tribune,” reported, “N. J. Pausback of the Pausback Scenery company presented a display of sample ornaments designed to meet the requirements of trees of gigantic size. Among these was a modern idea of spangles, some of them ten inches in diameter of various shapes and colors. Another decorative feature consisted of metal balls in all colors and sizes, each covered with silver sparkles” (page 93).

He and his family continued to prosper, despite the economic downturn after 1929. Many of his family gatherings and other social events were announced in the “Southtown Economist.” On February 21, 1930, the “Southtown Economist” announced,  “Mr. and Mrs. Nicholas J. Pausback and their children, Lawrence and Teresa, 6606 Woodlawn ave., returned Sunday from a motor trip to St. Louis where they visited relatives” (page 14). Later that fall, the Pausback’s threw a huge dinner On September 12, 1930, the “Southtown Economist” reported, “Mr. and Mrs. Nicholas J. Pausback, 6606 Woodlawn ave., entertained last Saturday evening at a dinner and reception at the Hotel Hayes, 6345 University Ave.” (page 16). It was quite a big gathering with a formal program that included musical performances, poetry reading and costume dance.

Pausback Scenery Co. continued to land a series of contracts for various events throughout the 1930s. In 1933, Pausback Scenery Co. was credited with delivering properties for “Wings of a Century” at the Chicago World’s Fair that year. The firm was also responsible for the Street of Paris at the Exposition. Pausback’s son was interviewed about the family business. Pausback’s grandson recently shared “Larry Pausback Century of Progress” (his father, Pausback’s son) on Vimeo. Here is the link to the interview: https://vimeo.com/118502410

The firm also delivered some traditional scenery for regional productions, but these type of projects became less and less frequent. On Nov. 18, 1935, they manufactured a stage setting for the Bristol Paly-Goers League production of “Petticoat Fever.”  On Nov. 18, 1935, “The Bristol Herald Courier” in Bristol. Tennessee, reported, “The setting showing the interior of the Labrador wireless station, designed by Pausback Studios, was realistic and authentic” (page 3).

By 1944, Pausback briefly partnered with another former Sosman & Landis employee, Art Oberbeck. The two were credited with scenery and lighting a “Alaskan Stampede.” The article reported, “Alaskan Stampeded, the unique spectacle – musical show – ice ballet and dramatic story – which will open at the Chicago Coliseum, tomorrow, has called a regiment of famous people to Chicago to participate in this production. Not only are singing, acting, and skating stars of note headlining the show, but writers, musicians, and technicians form New York and Hollywood are combining their talents for a completely original show” (page 12). Of the technical contributions, the article added, “Clarence Shapiro, dialogue director is a Chicagoan. Chicagoans are also the scenic and lighting experts, A. W. Oberbeck and N. J. Pausback, who are responsible for breathtaking effects of five stages with Mount McKinley for a background and Aurora Borealis playing over the whole and reflected real lagoon. There is a plot woven through all this color, sound, and movement. It is a heartwarming romantic story of a young pilot, a small Eskimo boy who is rescued from death , and an American girl whose love the pilot desire.”

In the 1950s, Pausback Scenery Co. was primarily focusing on stage equipment and draperies for academic institutions, with the firm was competing against other drapery companies that included National School Supply, Miller School Supply, Lee School Supply, Art Drapery Supply, Lee School Supply, Mitchell-David Co., and Tiffin Scenic Studios. Work continued, but Pausback started to slow down and contemplate retirement. After running the firm for twenty years, he retired, only enjoying six years before passing away in 1953. Pausback passed was at the age of 72 years old and He is buried in St. Mary Catholic Cemetery and Mausoleum in Evergreen Park, Illinois (Section 1, lot 764). On May 14, 1953, Pausback’s obituary was published in the “Chicago Tribune” on page 36. It announced:

“Nicholas J. Pausback, 72, of 1000 S. Rhodes av., retired theatrical scenery contractor, died yesterday in his home. Mr. Pausback, who retired six years ago, supplied amateur and professional theatrical scenery for 45 years, the last 20 years as owner of Pausback Scenic studios. An amateur magician, he was a member of the International Brotherhood of Magicians and the American Society of Magicians. Surviving are his widow, Otilia, three daughters, Mrs. Elvira Pausback Howard, Mrs. Mary Crescentia Welsh and Mrs. Therese Curtis, and three sons, the Very Rev. Gabriel of the Carmelite Order, Raymond Joseph and Lawrence. Mass will be said at 9:30 a.m. Saturday in St. Clara’s Carmelite church.”

Ottilia lived for another decade, passing away on May 23, 1963. Both are buried at Saint Mary Catholic Cemetery and Mausoleum in Evergreen Park, Cook County, Illinois (Section 1, lot 764).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Winnie Kennedy was a seamstress at Sosman & Landis in 1888. Her name and position at the company made headlines that year when she was involved in a court case.

On June 13, 1888, the “Inter Ocean” reported, “The trial of Daniel Ryan, for an alleged criminal assault upon Winnie Kennedy, of No. 265 Morgan street, occurred before Judge Baker and jury yesterday. The complaining witness is a fair daughter of Erin, only three years from the “ould sod,” and Daniel, who had been a childhood playmate, has lived in America two years longer. Winnie is a seamstress and works for Sosman & Landis, on Clinton street. Last February she lived with her sister, Mrs. Matthew Gleason, at No. 144 North Peoria street, where Ryan also boarded. They were on very good terms and Ryan frequently escorted Winnie to and from places of amusement, etc. On the night of Feb. 5, when the assault was said to have occurred, they were visiting Mrs. Madden, another sister of Winnie, on West Harrison street, and on their return home, she said, the attempt to assault her was made.  Winnie and her brother-in-law Gleason, her only witness, differed widely in their stories. For the defense it was shown that Winnie had offered to settle the case if Ryan would marry her. Ryan denied her story point blank, and the jury acquitted him without leaving their seats” (page 7).

That same day, a similar article was published in the “Chicago Tribune:”

“The trial of Daniel Ryan for an alleged criminal assault upon Winnie Kennedy at 265 Morgan street occurred before Judge Baker and jury yesterday. They had been childhood playmates. Winnie is a seamstress and works for Sosman & Landis on Clinton street. Last February she lived with her sister, Mrs. Matthew Gleason, at No. 144 North Peoria street, where Ryan also boarded. The night of Feb. 5, when the assault is said to have occurred, they were visiting Mrs. Madden, another sister of Winnie, on West Harrison street, and on their return home, she said, the attempt to assault her was made.  Winnie and her brother-in-law Gleason, her only witness, differed widely in their stories. For the defense it was shown that Winnie had offered to settle the case if Ryan would marry her. Ryan denied her story point blank, and the jury acquitted him without leaving their seats” (page 8).

It is almost impossible to identify a single young woman who was boarding at a relative’s house during the nineteenth-century, especially if it is a year between census reports. This challenge is compounded when the individual has a common first and/or last name. To successfully track any nineteenth-century female, it helps to have the names of a husband, parent and child/children. The historical records connected to her family members help cross-reference any other information that may come to light. The birth of children is especially helpful, as birth certificates help pinpoint the location for a family during a specific year between census reports.

In regard to a birthplace, a Winnie Kennedy from Ireland is incredibly challenging. In 1886 alone, there were two Winnie Kennedy’s who traveled from Liverpool to New York one month apart and were approximately the same age.

I was able to locate Winnie’s birthplace and parents, based on a few breadcrumbs. The two newspaper articles pointed me in the direction of birthplace (Ireland); approximate year of immigration (1885-1886), and the married names of two sisters (Gleason and Madden). The names of her brothers-in-law were really key in locating some basic information about Winnie’s background.  

I started with her sister, Mrs. Matthew Gleason of 114 N. Peoria, Chicago. Tracking the life of Matthew Gleason identified his marriage to Winnie’s sister. On June 4, 1883, Matt Gleason married Kate Kennedy in Chicago. The couple was also listed as the parents of Winnie Margaret Gleason. This helped verify that Kate and Matt were likely related to Winnie Kennedy from the 1888 article.  Locating the death certificate of Katherine Kennedy Gleasons identified her and Winnie’s parents – Thomas Kennedy and Bridget Harrington of Tipperary, Ireland.

Katherine Kennedy Gleason born in Tipperary in 1853 and emigrated from Ireland to the United States in 1875.  A decade later, her younger sister Winnie followed, initially living with Kate in Chicago.  This is the same story for many immigrant families; eldest children leave for better opportunities, save every penny that they can in their new home, and gradually send for the remainder of their family. This is how both of my paternal grandparents emigrated from Poland to the United States in the early twentieth century. Their journey was only made possible by the financial assistance and support from older siblings.

Such was the case when Winnie Kennedy left her home in Tipperary, Ireland, and headed to Chicago to live with an older sibling whom she had not seen for a decade. She arrived between 1885 and 1886. By 1888, Winnie was living with her sister Kate and brother-in-law Matt at 144 N. Peoria St.

I also began tracking down Winnie’s second sister. Mrs. Madden, who was mentioned in the newspaper article too. Mrs. Madden was noted as living on West Harrison.  In 1888, there was a Benjamin A. Maddern, the ONLY Harrison, living at 394 W. Harrison St. The Maddern family remained at this address from 1887 until 1891. In 1888 Maddern was working as a painter, and married to May Maddern, providing a name for Winnie’s second sister. Also, Ben Maddern’s work as a painter was possibly Winnie’s connection to employment at Sosman & Landis.

I have yet to locate what happened to Winnie after 1888.

Regardless of Winnie’s personal life, I can identify a few of the projects that passed through the Sosman & Landis shop in 1887 and 1888. I just have this sinking feeling that she lost her position at the firm after the article was published. I wish that I could share that Winnie survived the harsh criticism after the newspaper article was published.  I hope that she was able to find a lovely partner and spend the rest of her days both happy and healthy. At this time, Winnie’s story rafter June 13, 1888, remains a mystery. If any more information about Winnie comes to light, I will update this post.

In 1887 and 1888, Sosman & Landis delivered scenery to Opera Houses in East Saginaw, Michigan; Waterton, Wisconsin; Olean, New York; Wichita, Kansas; Wilkes-Barre, Pennsylvania; Sabetha, Kansas; El Paso, Texas; Bloomington and Sumner, Iowa; and Kansas City, Clay Center, Newton, Anthony, and Winfield, Kansas.

I can also describe Winnie’s working environment in 1888.  When Winnie worked at Sosman & Landis, her activities were confined to the basement of studio, located at 236 Clinton. This was the new facility erected by Sosman & Landis in 1886; so, it was quite new.

The preparation and construction of all soft goods at Sosman & Landis took place in the basement, below the paint studio. The carpenter’s shop was also located in the basement. The actual cutting and sewing of backdrops was described in an interview with former Sosman & Landis employee, John Hanny. On July 14, 1976, Dr. John Rothgeb asked Hanny a series of questions about work at Sosman & Landis.

 Hanny described that cutting fabric panels for soft goods was a two-man operation. He detailed:

“Muslin 36” wide – taken from the bale and placed on the floor at one end of a lane, marked with footage along the side. One would pick up one width and walk backward until he reached the desired number. The man on the other end would then cut it. This was repeated until needed number of widths for the drop.”

After the fabric panels were cut, Hanny explained that they were handed off to a woman in the sewing room. The fabric panels were stitched together on a treadle sewing machine.  The high-quality of drop construction by Sosman & Landis is apparent.  I have yet to document any Sosman & Landis soft good that does not have perfectly sewn seams, consistent fabric widths and perfect stitching.  Whether the sheeting was manufactured by Indian Head, Antarctic. Franklin Sheetings or some other cotton mill, the drop construction remains a testament to the talented young women who spent untold hours in a basement on Clinton Street in Chicago.

The same year that Winnie worked for Sosman & Landis, dozens of newspaper articles warned of the harm caused to women who operated treadle sewing machines. On Sept. 6, 1888, the Chicago Tribune” published an article entitled, “Employments Of Women” (page 9). Dr. Elizabeth Stowe Brown, M.D. examined the health and wages of working women. Under the section heading, “The Song of the Shirt,” Brown wrote, “A careful study of the lives and physical disorders of sewing machine operators will, I think, justify the conclusion that a moderate use of the sewing machine will not injure the average woman; but that no woman can “operate” eight to ten hours a day by foot-power without harm. The excessive use of the sewing can be no better borne than work in any line disproportioned to the strength of the individual.” It remains without question that Winnie was at least working eight hours a day, likely six days a week.

Winnie’s work at Sosman & Landis may have offered a certain amount of freedom, but it was physically-taxing labor. Injuries went far beyond one’s hands.

I am going to end this post with a short excerpt from “Little Gab,” a newspaper that was published the month after Winnie’s article.  On October 11, 1888, in the “Mount Carmel Register” (Mount Carmel, Illinois, page 3):

“And the brave young girl worked from morning until night to lay up the needed amount. She wore herself out working over her sewing machine; she cut, laid together and sewed with hardly a moment of rest. Well into the night I heard the sharp and hurried movements of the machine, resembling the abrupt rustling that grasshoppers make in the fields; beyond the curtains, illuminated by the lamp, I distinguished the hard-working girl in the outline, and I thought involuntarily of Hood’s terrible, ‘Song of the Shirt.’”

Here is the link to Thomas Hood’s poem: https://poets.org/poem/song-shirt

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Ansel Cook worked at Sosman & Landis from approximately 1906 until 1908. Starting in 1906, Cook sporadically worked at the firm’s annex studio on 20th Street, often as a manager while Thomas G. Moses was on the road. By 1904, Moses was in charge of all design, construction, painting and installation, yet continued to travel for the firm. Moses was also on the road quite a bit, still meeting with clients, negotiating contracts and painting some installations on site.  During some of Moses’ many absences, his right-hand-man, Ed Loitz, was left in charge.  However, when Loitz accompanied Moses, others were left with the supervision of projects at both the main and annex studios.

In 1906, Moses left Cook in charge of the annex. Upon his return, Moses wrote, “Took charge of the 20th Street Studio on my return.  Cook did $750.00 of work in three weeks.  My first three amounted to $3,500.00, some difference.  I hustled while he talked art and what the firm ought to do to get business.” Although Cook was a very gifted artist, he was not fast enough for Moses’ standards. However, the speed at which he worked did not stop the firm from hiring Cook. In 1907, Thomas G. Moses wrote, “We opened our annex studio at 19 W. 20th Street in July, and Ansel Cook went there as a manager.” Moses later commented, “He did some very good work but was a long time doing it, which, of course, didn’t pay us.”

Sosman & Landis’ annex studios were primarily for specialty projects, especially painted scenes for Scottish Rite degree productions across the country. I believe that one of Cook’s drop curtains still exists, originally painted for the McAlester Scottish Rite Theater, c. 1907- 1908. It is currently used at the Scottish Rite Theatre in Salina, Kansas.

Years later, former Sosman & Landis scenic artist Art Overbeck remembered Cook. His recollections about the firm and various artists who worked there were shared in both in correspondence and interviews with Dr. John Rothgeb, University of Texas at Austin. from July 24, 1976, Oberbeck stated, “[Cook] could make satin shine beautifully. He used to talk and show me stuff and tell me stuff of that sort. I would lay in all the stuff the best I could myself and he’d come along with a brush and give it a couple of jabs and straighten this line out and something of that sort. And boy, it would look so beautiful. Just knowing of a touch in the right place. Oh, he was a genius.” It was the comment about satin and Cook’s specialty as a drapery and figure painter that brought to mind the above-mentioned drop curtain.

I was incredibly difficult to track down information pertaining to Cook’s early career and life in Iowa. Ansel C. Cook was the eldest of nine children born to Walter Cook (1834-1921) and Matilda Kinney (1840-1928). Ansel’s gravestone indicates that he was born in 1863. However, some historical records suggest that he was actually born in May of 1862. Ansel’s younger siblings were Aaron Tompson Cook (1864-1905), David Stinson Cook (1866-1935), Abner Branson Cook (1868-1973), William Clayton Cook (1872-1940), Edna “Elizabeth” Cook (1875-1918), Birdie Louella Cook (1878-1942), Nina Pearl Cook (1880-1943), and Esther “May” Cook (1883-1954). Of all the children, both Ansel and William became scenic artists.

The patriarch of the Cook family worked a variety of jobs, often listed as a “laborer” in census reports.  However, when the Civil War broke out, he was working as a “coal digger.” Walter Cook registered for the draft on July 1, 1863, in Richland, Iowa. He was 29-yrs. old at the time, married with a pregnant wife and infant son at home.  Unlike so many families in a similar situation, Walter survived the fighting and returned home to his family.  After fighting in the war, he returned to Iowa where he would remain for the rest of his life.

By 1870, the Cook family had moved from Richland to Columbia, still remaining in Wapello County, Iowa. The nearest post office was located in Eddyville. The 1870 US Federal Census listed that the Cook household included: Walt (36), Matilda (39), Ansel (8), Aaron (6), David (4) and Abner (1 mth. old).  Walter was now listed a working as a farm laborer.

By 1880, the Cook family was living in the nearby city of Ottumwa, residing at 415 Tenton Street. In Ottumwa, Ansel Cook was listed as a painter in the US Federal Census. By 1882, he was associated with the painting firm of Cook & Pagburn. On Dec. 24, 1882, the “Ottumwa Daily Democrat” reported, “Ansel Cook, of the firm Cook & Pagburn, is a painter of fine qualifications. He is one of the best sign painters in the city, and in addition to his qualifications in that respect, is quite a crayon artist. Yesterday a specimen of his crayon work was exhibited at his office that is hard to excel, and is certainly rarely ever equaled in this city” (page 4). I have yet to encounter any other mention of Pagburn and wonder if there was a misspelling; Ottumwa articles are rife with typos (almost like my own posts).

On April 15, 1883, the “Ottumwa Daily Democrat” reported, “The finest door post signs in the city are those in front of Mr. Nusbaum’s place of business. The work is equal to a chromo, and the skill of Ansel Cook is everywhere apparent. DuBoise is nearly as proud of the work as Mr. Nusbaum” (page 8).

His partnership with Pagburn did not last long, and soon Cook partnered with an artist from Chicago, Ernest Rotzein. On September 22, 1883, the “Ottumwa Daily Democrat,” reported, “It is with pleasure that we announce a new firm of business men in this city, Rotzein & Cook. They are both splendid workmen, and we now pronounce our verdict that they will succeed both as house, sign, and ornamental painting. They are Anal [sic. a truly unfortunate misspelling of Ansel] Cook, of this city, and Ernest Rotzein, late of Chicago. Interior decoration will be a specialty” (page 4).

Cook continued to work with Rotzein and remained in the area for the next few years. It was likely Rotzein that later lured Cook to Chicago. In the meantime, however, he married.  According to a 1900 census years later, he married Nellie Cook in 1884. I have yet to locate any marriage license or filings for the union. And the 1885 Iowa State Census still listed Cook as living at home with his parents and brothers Aaron F. and David S. It is possible that 1884 was an error, made by a census reporter.

On April 15, 1885, the “Ottumwa Daily Democrat” announced, “Dissolution Notice – Notice is hereby given that the firm of Rotzein & Cook is this day dissolved by mutual consent, All liabilities are assumed by Mr. Rotzein, Mr. Cook retiring from the business” (page 4). The notice was signed Ernest Rotzein and Ansel Cook. Beneath was another announcement:  “Thanking the people for past favors, I cheerfully recommend parties desiring work in this line to call up Mr. Rotzein” (page 4). It was signed Ansel Cook. This makes me wonder, if Cook left Ottumwa to get married and work elsewhere. There is a gap between 1886 and 1896 that I cannot account for in the life and career of Ansel Cook.

By 1896, Ansel pops up in Chicago. He was listed in the city directory that year, living at 187 Centre Ave.  The next year, he moved to Boston, Massachusetts, where he was consistently listed as an artist for the Castle Square Theatre in the city directory from 1897-1900 and living on Follen Street.

The first mention of Cook working as a scenic artist in Boston. In an advertisement for “Erminie” at the Castle Square Theatre on September 6, 1896. Cook is credited with the scenic effects for the production.

On January 17, 1897, the “Boston Globe” reported, “The preparations for the production of ‘Lohengrin’ at the Castle sq theater are well in hand, and all indications point to a successful production of this most popular music drama. Scenic artist Ansel Cook has already in hand a complete new scenic outfit for the opera. The models for these settings are studies from those used in the original production of ‘Lohengrin’” (page 16).

Later that fall, Cook painted a new drop curtain for the Castle Square Theatre. On September 9, 1897, the “Boston Evening Transcript” described his drop curtain for the Castle Square Theatre. The article reported, “One of the features of the opening of the Castle Square Theatre for the season of 1897-89, Monday last, was the new drop curtain. This curtain was painted by Mr. Ansel Cook, the scenic artist of the theatre, and represents a woodland after a style of French forests, and might be taken for the rond-point of the forest of Fontainebleau. The trees are scattered here and there, but no brush or underwood is seen. An artistic feature of this pretty landscape is that no paths are traced amid the trees. The time the picture represents is autumn, late in the afternoon. The trees in the foreground still retain their warmth of the declining sun, while those in the distance have already a hazy hue much resembling, in coloring, the perspectives in de Chavannes mural decorations. These are five figures in the picture, two of which, both in costume and attitude, are strikingly beautiful. They represent two lovers strolling from the chateau, which is dimly seen in the distance. The costume denotes the sixteenth century, and live the truth of Mareau’s picturesque characters. The picture itself is framed by means of generous draperies and olden-times frescoing. These are of an indefinite color, and harmonize with exterior decorations of the theatre. That Mr. Cook should have found time to both conceive and paint such an artistic and truly beautiful curtain, busy as he is every week with different productions, is to be wondered at. While then, credit is due the management of the Castle Square Theatre for doing everything to please its patrons, greater credit should be given for contributing so much to the stage ensemble and beauty” (page 5).

In October 1897, Cook’s scenic art contributions were noted in the Castle Square Theatre production of “Shenandoah.” An article in the “Boston Evening Transcript” on October 30 reported, “Unusual attention has been bestowed upon the scenic and other stage effects by Messrs. Ansel Cook and Ben Craig, the great scene for the second and third acts, representing Shenandoah Valley, being a faithful study from sketches made at the time of the historical occurrences depicted in the drama” (page 1). The next day, “The Boston Globe” announced, “A clever example of model making for dramatic productions may be seen in the window of the branch office of Castle sq theater on Tremont st the coming week. It represents in detail the scenes and figures of the principal picture in the third act of ‘Shenandoah’ and is an excellent example of the clever work done by Mr. Ansel Cook, the scenic artist of the Castle” (page 22).

Cook’s work with Ben W. Craig at the Castle Square Theatre from 1896 to 1902 included, “The Ensign,” “Captain Swift,” “Rosedale,” “The Heart of Maryland,” “The New South,” “The Prisoner of Zenda,” “Caste,” “Men and Women,” “Mignon,” “Tannhäuser,” “The Prodigal Daughter,” “Darkest Russia,” “A Social Highwayman,” Cumberland 61,” “Col George of Mt. Vernon,” “Nell Gwyn,” “Cyrano de Bergerac,” “The Little Minister,” “Jim the Penman,” and “Quo Vadis.”

By 1905 Cook moved from Boston to Chicago, establishing the Ansel Cook Studio and advertised as “Designer, Originator and Constructor.” His firm was located in room 60 of the Grand Opera House Building.

One advertisement placed by Cook in “White City Magazine” gives some insight into some of Cook’s between 1902 and 1905. The ad stated:

“Now engaged in preparing the $60,000 reproduction of the CITY OF VENICE. Also, the $50,000 scenery for the SCENIC RAILWAY at WHITE CITY, Chicago. Designer and Constructor of the famous COAL MINE IN MINIATURE for the Fairmount Coal Co. of West Virginia (Highest Award), and the wonderful exhibit of the Davis Colliery Co. of West Virginia (Gold Medal), at the Louisiana Purchase Exposition; the two principal features and most popular exhibits in the Mines and Metallurgy Building. Designer and Constructor of the Mural Decorations for the Dome of the State Capitol Building at Topeka, Kansas.”

Cook’s work for the White City Amusement, “Venice,” in 1905 was featured in “White City Magazine.” Venice was advertised as “a romantic gondola ride through the moonlit water streets of Venice; viewing correct reproductions of her famous buildings and statuary groups.” It was a water ride that purportedly included 90,000 square feet of painted panoramas depicting the sites of the city, Venice.

In a 1905 promotional book, entitled “White City Magazine,” Cook’s painting for the attraction was described in detail:

“SCENERY FOR BEAUTIFUL VENICE.

AN ENORMOUS QUANTITY OF IMPORTED CANVAS REQUIRED FOR MAKING THE PERSPECTIVE VIEWS

Ansel Cook, one of the most famous scenic artists in the United States and whose work is to be found in every first-class theatre, states that more canvas was required for constructing the perspective views which adorn the interior of Beautiful Venice, than was ever before used for any scenic work under one roof. Almost 10,000 yards of Russia sheeting, about 90,000 square feet, was imported direct from Russia because no dealer in this country could supply this enormous quantity. The canvas was used for the reproducing of scenes in Venice through which appear at a distance from the passenger in the gondola. That part of Venice through which the half mile of canals pass is actually built so that real palaces, groups of statuary, etc., are brought to view at every turn of the winding waterways, but the interior walls are hung with enormous panoramic paintings which carry out the effect for a distance of several miles.

In painting these panoramic views, Ansel Cook required the services of six associate artists and a small army of assistants. Their work lasted for a period of four months, during which time the entire force was kept busy practically day and night. The utmost care was exercised in order to give a perfect reproduction of Venice architecturally and in the color scheme. During a recent visit to the city of Venice, Mr. Cook carefully studied the details of ornaments, cornices and mouldings used on the buildings which have been reproduced for White City and he has correctly carried out the original designs in his work.

The wonderful perspective view of the Grand Canal, one of the most magnificent paintings ever produced on canvas, is about 30 feet high by almost 200 feet long. The size of this for an individual painting has rarely been exceeded. Particular care was taken to reproduce the animation and spirit of the busy scene presented to the sight-seer along the Grand Canal, with its host of gondolas, fishing boats with their bright colored sails, fruit barges, etc. Visitors to White City who experience the delights of a gondola ride through Beautiful Venice, will marvel at the life-like reproductions of these historic scenes, while those who are familiar with artistic efforts, will not hesitate to make frank acknowledgment of the excellence of the reproduction.”

On September 2, 1905, Cook’s operatic contributions were also featured in the “Minneapolis Journal” (page 14). He was credited with producing the painted backings for Lorenzo Perosi’s  La Risurrezione di Cristo, the Resurrection of Christ, at the Minneapolis Auditorium in 1905. Perosi’s oratorio was part of the Banda Rossa program performed at the Auditorium during State Fair week, and included Gina Ciaparelli (soprano), Bessie Bonsall (contralto), Albert Quesnel (tenor) and Salvatore Nunziato (baritone) for the solo parts. The article noted that Cook’s painted compositions included “Mary at the Tomb, the meeting between the Savior and Mary Magdalene, the meeting of the Saviour and the Disciples on the Road to Emmaus, the Savior in the Multitude and the Ascension Scene.” On September 3, 1905, an article in “Minneapolis Journal” further detailed, “As the music progresses, these views, each 30×40 feet, with the wonderful electric lighting effects, are dissolved one into another. The effect is intensely interesting, and the mind, acted upon alike by the music and the pictures, is almost overwhelmed by the reality, the beauty and the solemnity of the scenes thus depicted by tone and brush…These are exquisite works of art and when lighted by the different electrical devices used in their presentation are wonderful, beautiful, and fantastic, illuminating the music as it progresses”(page 31).

It was in 1906 and 1907 that Thomas G. Moses mentioned Cook periodically managing Sosman & Landis’ annex studio.  By 1908, Cook was offered work in California.

On July 27, 1908, the “Los Angeles Times” reported, “Ansel Cook, late scenic artist for Henry Miller, has just been engaged for the same position at the Belasco Theatre here. ‘The Great Divide’ settings were made by Mr. Cook. He was for six years with the Castle Square company of Boston” (page 7). In the August issue of “Billboard” that year, Cook was also credited with providing new scenery for Weyerson & Clifford’s Southern Thorne and Orange Blossoms Company (Vol. 20, page 25).

Cook’s work for the Belasco Theatre continued to make headlines. On September 30, 1908, the “Los Angeles Times” announced, “The Belasco Theatre has a new scene painter, Ansel Cook. He has the reputation of being one of the best in the country. His ‘Exterior of the Black Snake Ranch,’ in Acts II and III, is a Texas landscape, beautiful in color, and one of the most effective backgrounds ever seen on the Belasco stage.” In November, Cook painted new scenery for the Belasco Theater’s production of “Old Heidelberg.” On Nov. 1, 1908, the “Los Angeles Times” reported, “As Ansel Cook has painted entirely new scenery and appropriate sets, the production should prove a truly notable one from every standpoint” (page 25).

Cook was still working as an ornamental painter at this time, keeping himself employed between productions at the Belasco Theater. On Dec. 13, 1908, the “Los Angeles Herald” credited Cook with decorating the green room at the Belasco Theatre in Los Angeles, describing, “The green room now presents a very different appearance, being artistically decorated in green, maroon and gold, with beautifully decorated ceiling, executed by the clever artist, Mr. Ansel Cook” (page 32).

Cook was still listed in the 1909 “Los Angeles Directory.”  However, he was now listed as an artist at C. F. Thompson Scenic Co. This was the newly incorporated scenic concern established by Charles F. Thompson. C. F. Thompson Scenic Co. originated in Chicago, and was operating by 1900. In 1909, the C. F. Thompson scenic company delivered a new drop curtain to the Home Theatre in Hutchinson, Kansas.  On January 22, 1909, the “Hutchinson Daily Gazette” described the composition: “The center is a redwood scene with stage coach and a group of horsemen approaching a watering place” (page 5).

Between 1910 and 1914, Cook fades from radar again.  By 1915, however, he has moved to the East Coast where he continues to work as a scenic artist. The 1915 New Jersey State Census listed Ansel Cook, now widowed, was working as a scenic artist and living with John B. Cook, Charles B. Cook, were J. Heiner, John L. Hoag, and Fred W. Kopke. They were all living in North Bergen Township. Interestingly, John B. Cook was also listed as a scenic artist. That being said, I do not know if there were any familial ties between Ansel, John and Charles. Distant cousins maybe, or did they just share the same common last name?  It actually makes me wonder if this was the correct Ansel Cook, yet he passed away in Manhattan a year later.

Ansel Cook died on February 23, 1916 in Manhattan. He was listed in the New York extracted death index, yet the database listed his passing as Feb 24, 1916. It is hard not to think of Art Oberbeck’s comment about Cook decades later: “Oh, he was a genius. All his work was just so tremendous. And he died drunk in the back room of an old dump in New York. He was an awful drinker.”

Cook’s obituary was published in the “Ottumwa Tri-Weekly Courier” on Feb. 29, 1916: “Ansel Cook. The remains of Ansel Cook who passed away in New York, early Friday morning, arrived in this city Sunday morning, The funeral services were held this afternoon at 3 o’clock from the residence of his parents, Mr. and Mrs. Walter Cook, 427 Church Street, and were conducted by Rev. D. CX. Smith and Rev. Isaac Bussing. Interment took place in Ottumwa Cemetery.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Frank E. Gates was a scenic artist at Sosman & Landis Scene Painting Studio in 1885.

His future business partner, Edward A. Morange, also worked for the firm during the 1880s.  A decade later, the two established the well-known scenic studio in New York – Gates & Morange. I have previously covered the life and career of Morange, as Sosman & Landis Employee No. 21. Here is a link to the post: https://drypigment.net2021/04/21/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-21-edward-a-morange/

To fully appreciate life and career of Francis Edgar “Frank” Gates (1864-1952), one must understand the theatrical contributions of his father, Sigismund Iantis Gates (1826-1906). In addition to being an actor and musician, S. I. Gates was a stage mechanic/machinist/carpenter. The elder Gates worked in the St. Louis theatre community for over fifty years. I am briefly including his story, as it provides the best context for Frank E. Gates’ early training in scenic art and the theatre.

Born in 1826, Sigismund Gates started life as a carpenter. By the age of twenty-six, he was employed as a ship joiner in Buffalo, New York. In 1850, he was married to Jennet Eunice Brayman, and living with their infant daughter Mary Agnes Gates in New York. On March 15, 1851, their young daughter passed away and death continued to follow Gates over the next few years. By 1854, Gates not only suffered the loss of his daughter Mary, but also the loss of his wife and two young sons, Charlie and Horatio. Only his 3-yrs.-old daughter, Matilda J. Gates, survived. Father and Daughter moved west to start a new life. On July 21, 1855, Sigismund married Louisa Maddern (1832-1900), in Detroit, Michigan. Louisa was Frank and Richard Gate’s biological mom. After being married in Detroit, the young couple settled in Iowa. An Iowa State Census from 1856 listed Sigismund, Louisa, and Matilda J. living in Jackson, Iowa. Soon, the small family relocated to Illinois where Ernst and Grace Gates were born.

By 1860, the Gates moved again to St. Louis, Missouri, where Sigismund continued to work as a stage carpenter. At the time, the family was living on the same street as many other carpenters, machinists and architects. The 1860 US Federal Census listed the Gates household as including: Sigismund (34), Louisa (28), Matilda (9), Ernst (3) and Grace (1). Another daughter, Emily, was born shortly after the census, also in Missouri.

By 1861, the Gates were living in Keokuk, Iowa, where Sigismund enlisted in the Union Army on August 2. He enlisted as a musician, playing in the band of the Iowa 6^th Infantry for just over a year. Sigismund completed his military service on August 16, 1862. In Keokuk, Francis Edgar Gates was born on July 12, 1864. After the Civil War, the Gates returned to St. Louis, and Sigismund to theatre work, both performing and building.  Living on 20^th street, between Market and Estelle, he became associated with the Varieties Theatre. He was soon listed as their official stage mechanic, working with scenic artist Thomas C. Noxon. On Dec. 30, 1866, the “Daily Missouri Republican (St. Louis, page 3), reported, “VARIETIES THEATRE- The great spectacle of Sadak and Kalasrade, produced in a scale of magnificence never before witnessed on any stage. The scenery by T. C. Noxon, machinery by S. I. Gates…” By 1867, Sigismund I. Gates was still listed as a stage carpenter at the Varieties Theatre.

Machinist S. I. Gates and scenic artist T. C. Noxon then became associated with the Olympic Theatre by 1868. The two remained there for the next three decades. On Sept. 7, 1873, the “Missouri Republican” listed Noxon and Gates as part of the Olympic Stock Company (page 6). They continued working together until Noxon’s passing in 1898, yet Sigismund remained as a stage carpenter at the venue, still listed as part of the staff from 1899 until 1903 in “Julius Cahn’s Official Theatrical Directory.”

The Gates and Noxon connection cannot be underestimated in terms of theatrical networks. 

I have written quite a bit about Noxon (1829-1898) in the past. He was nationally recognized for his scenic artist and electric parade float designs, as well as establishing the scenic studios of Noxon & Strauss; Noxon, Halley & Toomey; Noxon, Albert & Toomey; and Noxon & Toomey. All the while, he worked with Sigismund Gates as his stage carpenter. Here is a past post that shares some of Noxon’s accomplishments: https://drypigment.net2018/07/28/tales-from-a-scenic-artist-and-scholar-part-462-thomas-c-noxon-of-noxon-toomey/ At the time of Noxon’s passing, the “St. Louis Post-Dispatch” reported, “Mr. Noxon for years had been considered one of the foremost scenic painters in the country and his work can be seen in almost every prominent theater in the United States” (21 June 1898, page 7).

In addition to his association with Noxon, Sigismund was also a leading member in the Theatrical Mechanical Association of the United States and Canada. On Jan. 13, 1889, the “St. Louis Post-Dispatch” announced the upcoming “Theatrical Mechanics Ball.” The article noted, “The ball is in the hands of a committee consisting of S. I. Gates, delegate to the Grand Lodge, Secretary Louis J. Horn and Treasurer Andrew Fueger.” The annual masquerade ball of the Theatrical Mechanical Association was held at the Masonic Hall, located at Seventh and Market Streets. Sigismund was still actively involved with the organization in the 1890s. By 1895 he was president of the St. Louis lodge for the organization. That year the Convention of the Grand Lodge of the Mechanicians was held at Havlin’s Theatre, St. Louis.

Sigismund continued to work backstage until his passing in 1906. His obituary was published in the “St. Louis Dispatch,” on Feb 9, 1906:
“GATES – On Geb. 8, at 2 P.M. Sigismund I. Gates at the age of 80 years. Funeral will take place Saturday, Feb. 10, under auspices of Missouri Lodge No. 1 A.F.&A.M., at 3p.m. from the funeral parlors of Theodore W. Paschedag, 2816-2826 North Grand Avenue. Relatives and Friends invited to attend.”

In addition to a theatrically-connected father, Frank’s mother was also part of the American Theatre. As a member of the Maddern family, she was related to the musician, Richard Maddern (father), and performers: Amelia Maddern Hodges (sister), Elizabeth “Lizzie” Maddern (sister), Minnie Maddern Fiske (niece) and Emily Stevens (niece).

These theatrical connections and familial ties made Frank Gates an incredible asset at Sosman & Landis in 1885.  The firm relied upon well connected artists to help secure contracts across the country, based on their individual reputations alone. Gates not only had the theatrical connections, but also the academic training in fine art. This would set him apart from many of the other scenic artists at Sosman & Landis at this time. Both he and his brother Richard attended the St. Louis School of Fine Arts at Washington University in St. Louis, both completing four years at the university.

The 1880 US Federal Census listed Frank as a University student, living with his parents at 1315 N. 7^th St. At this time, the household consisted of S. I. Gates (55), Louise (47), Ernst (22, son), Grace (21, daughter), Emily (19, daughter), Frank (16, son), Richard (7, son), and Robert Essex (16, orphan). Years later, the childhood of Frank and Richard Gates was repeatedly recalled in various newspaper articles. In December 1927 an article published in “The Scenic Artist” commented, “they were practically brought up on theatre from almost infancy, being in a family of theatrical managers, musicians and actors, it was natural that the stage should appeal to them” (Vol. 1, No. 8, page 8).

The Gates children were certainly familiar with the productions at the Olympic Theatre and the scenic art of Noxon. Early scenic art training was almost certainly under the tutelage of Noxon at the Olympic Theatre. After early work as an assistant scenic artist, Frank landed a position at Pope’s Theatre in St. Louis. Already by age of eighteen, Frank Gates was listed as an artist in the “St. Louis City Directory,” although still living at his parents’ home on 1315 N. 7^th St.  By 1883 Frank Gates, was living on his own at “ws. 7^th, nr. Cass av.” Two years later, he was living at 414 Olive in St. Louis, consistently listed an artist in the city directory.

Frank was twenty-one years old when offered a position at Sosman & Landis Scene Painting Studio in Chicago in 1885. On July 12, 1885, the “St. Louis Globe” announced, “Mr. Frank Gates, who has been the scenic artist at Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself at Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). For a little theatrical context, Charles Pope (of Pope’s Theatre) worked as manager at the Metropolitan Theatre in Indianapolis (1868), Coates Opera House in Kansas City (1870-1871), the Olympic Theatre in St. Louis, Missouri (1870-1876), the Varieties Theatre in New Orleans (1876-1877), Pope’s Theatre in St. Louis (1879-1887), and the Oriental Theatre in St. Louis (1895). So, Pope worked with Sigismund Gates at the Olympic Theatre, where he would have first encountered Frank’s as a young paint boy and later scenic art assistant.

After Frank left Pope’s Theatre and moved to Chicago in 1885, he met and married Malinda Jane Neal (1866-1945). The couple was married in Milwaukee, Wisconsin, with the ceremony taking place on September 8, 1886. At the time, Frank’s residence was listed as Chicago and Malinda’s as Keokuk, Iowa. Frank continued to paint in the region, but was not always listed in the “Chicago Directory.” Interestingly, a regional branch of Noxon, Albert & Toomey was established in Chicago and also listed in the 1887 “Chicago Directory.” Frank’s future business partner Morange was consistently listed in the Chicago Directory during the 1880s and early 1890s.

In 1887, however, Frank Gates was painting in Kansas City, Missouri, for another former Sosman & Landis employee, Lemuel. L. Graham. Graham actually ran a regional branch for the Chicago-based firm. It is possible that Gates was still working for Sosman & Landis at the time, as part of the regional studio supervised by Graham. Gates continued to work for Graham in Kansas City throughout the duration of 1888.

By 1890, Frank returned to Chicago, and was listed as an artist, living at 334 W. Van Buren. This gets a little confusing, as there was also a Frank A. Gates working as a painter in Chicago, completely different person and address though. Supposedly, Gates met Morange in 1894, however, they likely met at Sosman & Landis long before that time; the scenic art world in Chicago was very small, especially for those employed at Sosman & Landis. Historical accounts suggest that they studied fine art during the day and painted scenery together at night. It is very likely that the two were still sporadically employed at Sosman & Landis.

When Frank’s younger brother, Richard H. Gates, came of age, they began working together. The two briefly moved to Philadelphia between 1897 and 1898.  In 1897, Frank, Richard and Morange established Gates & Morange Studio, completing their first Broadway Design in New York that year – “Straight from the Heart” by Sutton Vane and Arthur Shirley. I have written quite a few posts about Gates & Morange. Here are links to two of them for more information: https://drypigment.net2017/08/27/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-190-gates-morange-creators-of-things-novel-and-beautifull/

and

https://drypigment.net2017/08/28/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-191-the-sandstorm-scene-for-the-the-garden-of-allah/

In New York, Gates & Morange became a success, with the demand for their services and scope of their projects continuing to increase. The scenic studio of Gates & Morange became one of the premiere scenic studios in the United States by the early twentieth century, delivering stage settings for dozens of Broadway shows. Throughout the duration of Gates & Morange; Morange was the primary visionary and traveler, gathering source material for their designs. Gates managed the studio and the contracts. Scenic artists who worked for Gates at their firm included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri. 

On Feb. 7, 1907, the “New York Time” announced the incorporation of “Gates & Morange, Inc., North Pelham (stage settings) capital $100,000, Directors – F. E. Gates, Tuckahoe; E. A. Morange, Mount Vernon; R. N. Gates, Bronxville.” (page 13). Morange was also integral in establishing the eastern affiliate of Sosman & Landis, New York Studios shortly after incorporating Gates and Morange. This secured and unspoken jurisdictional agreement with both New York Studios and Sosman & Landis. In 1910, David H. Hunt, Secretary and treasurer of Sosman & Landis, established New York Studios.  He was one of the initial stockholders; at the beginning the firm’s stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th  Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.

The New York Public Library also has a Gates & Morange Design Collection (c. 1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions. The  Gates and Morange Designs Collection is part of the Billy Rose Theatre Division Repository, Archives & Manuscripts, New York Public library. The following excerpt is from the online descriptor of the collection –
“[Gates & Morange] designed scenery for more than 50 productions over four decades, additionally painting and supplying countless others. Clients included Liebler Co., Florenz Ziegfeld and George C. Tyler. Designers included Thomas Benrimo, William E. Castle, Richard Gates (brother of Frank), Charles Graham, Alexander Grainger, Arne Lundborg, Orestes Raineiri, and Edward Morange… Original set designs, curtain designs, drops, and olio designs, mostly color, produced by the Gates and Morange studio over four decades for theatrical productions and for businesses, trade shows, and several exhibitions. Although most of the designs are undated, the bulk of the collection appears to date from the 1920s. Among the more than 75 productions included are The Daughter of Heaven by Pierre Loti (ca. 1912); Dolce Napoli (ca. 1913); Earl Carroll Vanities (1923); For Valor by Martha Hedman and H.A. House (1935); Gridiron Club productions (1935); An International Marriage by George Broadhurst (ca. 1909); The Lady of the Lamp by Earl Carroll (1920); Music in the Air (musical), music by Jerome Kern, with designs by Joseph Urban (1932); Nancy Brown (musical), music by Henry K. Hadley (ca. 1903); Song of the Flame (musical), music by Herbert Stothart and George Gershwin, with designs by Joseph Urban (1926), and a number of Ziegfeld productions. Of particular note is Rose-Marie (musical) by Otto Harbach and Oscar Hammerstein II (1924), which includes 3 photographs, showing the development from an initial photograph to the scenery in place on the stage (1924). There are also a few studio plans and research materials in the collection.” Here is the link to this Gates & Morange collection: https://archives.nypl.org/the/22927.

There is so much more, but I am going to stop here.

Frank Gates passed away on Dec. 18, 1952, in Bronxville, New York. He is buried at Ferncliff Cemetery and Mausoleum in Hartsdale, New York (Ferncliff Mausoleum, M06TN, D, A, 13).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

In 1899, there was a “Mr. McAndrews” representing the Sosman & Landis Scenic Studio. At the time, the firm was going after a scenery project in Barre, Vermont, bidding against Huoist Theatrical Scenery of Troy, New York.

“On May 11, 1899, the “Barre Evening Telegram” reported, “The city council met in special session last night to confer with several representatives of scenic houses about scenery for the new opera house. Mr. McAndrews, representing Sosman & Landis of Chicago advocated raising a portion of the roof 38 feet wide 5 feet above the present altitude. Mr. Huoist, representing a firm in Troy, N.Y., showed a model and sample of scenery. Advocated the use of trip lines and leaving the roof the same as present. Both are prepared to submit estimates by next Tuesday. Mr. Morton agreed to add the stripe to the decorations of the rooms in the city hall and a resolution was adopted awarding him the contract for $250. Executive session to consider some other bids on scenery” (page 1).

By May 17, 1899, the “Barre Evening Telegram” announced “Scenery Let. Huoist Theatrical Scenery Co., of Troy, N.Y., the Successful Bidders. The Price to be $1,226 for Nine Complete Scenes. Sosman & Landis $52 Higher for Less Pieces” (page 1). Sosman & Landis were the nearest competitors to Huoist, but their price for $1,278 was for several fewer pieces.

It has been a challenge to track down “Mr. McAndrews,” as it is extremely difficult to locate a scenic artist or salesman with a common last name. However, I believe that this was E. H. McAndrews, also known as Edward H. McAndrew; over the years, the “s” was dropped from the last name. Both Edward H., and his brother Robert T., McAndrews, worked as scenic artists in the East, primarily contracting projects in Pennsylvania, New Hampshire, Massachusetts, and Vermont.

Edward was a very typical example of the scenic artist/salesman hired by Sosman & Landis at this time. Since the founding of the firm,  Sosman & Landis hired regional scenic artists, those familiar with a specific area of the country, to go after scenery jobs beyond the Midwest.  This made sense, as it gave them not only access to local theatre networks, but also added credibility to their firm when competing against regional competitors.

Edward was one of four children born to Patrick McAndrews and Agnes E. Calhoun between 1859 and 1865.  The oldest child Francis “Frank” was born in 1859 and youngest child, Elizabeth, was born six years later in 1865. Edward and Robert were the middle children. In 1870, the McAndrews family was living in Pottsville, Schuylkill, Pennsylvania. At the time, the children listed at home were: Frank (11 yrs.), Robert (8 yrs.), Edward (6 yrs.) and Elizabeth (5 yrs.).

Patrick McAndrews passed away in 1875, leaving a wife with young children still at home.  Agnes was still listed in the Pottsville City Directory over a decade later, as it appears, she never moved. In 1887, when was living with Robert at “Race c Lawson.” Although Robert was listed as a boiler maker at the time, he was working as an artist two years later. In 1888, Edward was also working as an artist in the area.  On August 3, 1888, the Sunbury, Pennsylvania, “Northumberland County Democrat” reported, “Prof. E. H. McAndrew, an artist, who works from nature, has arrived in this city and intends getting up a class. He has recently been in Shamokin and Easton and comes highly recommended”  (page 1). Shamokin was located approximately halfway between Pottsville and Sunbury, to the west.  Easton was near Allentown, Pennsylvania.

It remains unclear as to when Edward and Robert began their scenic art careers, but both completed projects in larger metropolitan cities by the 1890s. By 1896, Edward was credited as a “well-known” scenic artist. On April 21, 1896, the “Fall River Globe” of Fall River, Massachusetts, reported, “Corse Payton is the only manager of popular price attractions that has discovered the secret of being able to carry scenery for eight first class productions and give attention to every little detail. Having the scenery, costumes, properties and other effects as the experienced stage manager requires for proper presentation of each play in the repertoire. All of the scenery used is the finest that can be painted and is from the brush of E. H. McAndrew, a well-known artist who has painted some of the most elaborate spectacular productions of the day. Everything that is used on stage is carried by Mr. Payton, who guarantees perfect satisfaction and will refund twice the amount paid for any ticket by any person not perfectly satisfied with any of his performances. Yesterday’s productions were presented to full houses and the general verdict was that the company was much superior to many of the high-priced attractions. In a word the company is one of rare excellence, and well worthy of the public patronage. Tonight ‘The Galley Slave’ will be presented, and tomorrow there will be two grand bills, ‘East Lynne’ in the afternoon. And ‘The Plunger’ in the evening” (page 6). Fall River is about sixty miles south of Boston where McAndrews both lived and worked.

By 1900, Edward was living in Philadelphia, but continuing to work as a scenic artist and performer throughout the region. Edward also worked in Manchester, New Hampshire, where he met his future wife Dora G. Shaw.

On Nov. 15, 1900, Edward married Dora “Grace” Shaw in Boston. Grace was the daughter of railroad electrician, Eugene Shaw, and dressmaker, Susan A. Shaw, born on Jan. 14, 1877 in Barnet, Vermont. Their marriage license listed Grace’s current residence as Manchester, New Hampshire; with Edward’s current residence as Philadelphia, Pennsylvania. Edward and Grace listed their occupations as actor and actress, respectively.

McAndrews continued to work as a both a performer and scenic artist. On May 14, 1901, the “Portsmouth Herald,” announced, “E. H. McAndrews, the scenic artist of Manchester was in town today” (Portsmouth, New Hampshire, page 6). At this same time, his brother, R. H. McAndrew, was listed as a scenic painter in the Manchester, New Hampshire, City Directory, boarding at the Hotel Windsor. The two continued to work throughout the region.

By 1908, Edward and his wife Grace were living in Barnet, Vermont, Grace’s hometown. In Barnet, they celebrated the birth of their only son, John, sometime between 1908 and 1910; records vary for his birth year.

The family then moved to Canada, although this date is a little flexible too, ranging from 1906 to 1910. It is possibly that Edward was working in Toronto, while Grace raised their son in Vermont, but everything is a bit sketchy. Much of the information pertaining to the Edward McAndrews life in Toronto was included in a 1921 Canadian Census. That year, the McAndrew household included Edward, Grace, John and Susan A. Shaw (Grace’s mother). At the time,  Edward’s occupation was listed as an artist in the theatre industry, listing 1906 as his year of immigration.

The McAndrews returned to the United States by 1930, although the exact date remains uncertain. The 1930 US Federal Census that listed E. H. McAndrew as a scenic artist in Wilmington, Middlesex, Mass., living with his wife Grace, son John, mother-in-law Susan and brother, Robert T. McAndrew. Robert was listed as a sign painter.

I have located precious little about Edward or Robert after this.  However, Edward passed away four years later. His obituary was published in the “Boston Globe” on October 12, 1934:

“MCANDREW- In Wilmington, Oct 11, Edward H. Funeral from his later home, Middlesex av., Saturday Oct. 13, at 8:15 a.m. Requiem high mass at St. Thomas’ Church, Wilmington, at 9 o’clock. Relatives and friends are invited” (page 12). He was still living in Wilmington at the time. Edward H. McAndrew is buried at Wildwood Cemetery in Wilmington, Mass.

To be continued…