I spent yesterday afternoon in Aspen, Colorado, at the Wheeler Opera House. This was a trip instigated by Ziska Childs; a project that took advantage my visit to the Tabor Opera House in Leadville this month. I was fortunate to share my on-site discoveries with Jenny Knott, Michael Powers, Greg Marsters, and Tammy Taber. After an in-depth examination of the Wheeler drop curtain, we suspended it from a downstage line and admired the scenic art from the house. Shortly after the unveiling, my preliminary findings were presented to the Board of Directors. I am currently in the process of developing an historical analysis, condition report and replacement appraisal for the piece.
The current drop curtain for the Wheeler Opera House was delivered by Tiffin Scenic Studios, Inc. in 1983. It is the same subject matter as the drop curtain first delivered to the Wheeler Opera House when it opened in 1889. The original drop curtain for the Wheeler Opera House was painted by Henry E. Burcky, a scenic artist for the Tabor Opera House in Leadville and Tabor Grand Opera House in Denver. Prior to relocating west, Burcky was also a scenic artist at Hooley’s Theatre in Chicago and also painted for the Cincinnati Opera Festival in 1881. I have written about him quite a bit in the past. On March 26, 1889, the Aspen Times interviewed Manager Weill of the Wheeler Opera House who described the new drop curtain as “a representation of the Brooklyn Bridge painted by Burke [of the Chicago Opera House] from sketches obtained in this city and is one of the best pieces of work of the kind I have ever seen.”
That same year that Burcky worked for the Wheeler Opera House, he also painted a drop curtain for DeRemer’s Opera House in Pueblo, Colorado.
Burcky first came onto my radar while researching a set of painted cut wings at Tabor Opera House in Leadville, Colorado, c. 1890. From 1884-1890 Burcky painted scenes for Tabor’s opera houses in both Leadville and Denver. During this time, Burcky and master mechanic J. C. Alexander renovated numerous Colorado stages for the Silver Circuit, their projects included those in Aspen, Leadville, and Pueblo.
The extant drop curtain at the Wheeler Opera House by Tiffin Studios is either a painted replica of the original drop curtain, or one inspired by Burcky’s work. I am currently on a quest to track down the history for this particular piece.
Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.
There is still an astounding amount of historic scenery tucked away at the Tabor Opera House in Leadville, Colorado. When the building was renovated in 1902, the stage was enlarged, and all of the original wings and shutters (c. 1879-1900) were placed above the auditorium. This space is now considered the 3 ½ floor, seventy-steps above street level. Last September, I led a crew of volunteers to remove the scenery from the attic space to the stage floor. Here is a link to a previous post: https://drypigment.net2020/09/23/travels-of-a-scenic-artist-and-scholar-day-2-at-the-tabor-opera-house-september-22-2020/
The 3 ½ floor, now referred to as the attic, once consisted of several hotel rooms. Over the decades, the walls dividing each room were removed and the enlarged space became home to abandoned artifacts. Stage artifacts included wings, shutters, and painted profiles.
I returned to the attic yesterday, fully prepared with my N95 mask and work gloves. My focus was on the scenery above the rafters. There are several shutters and wings trapped in a web of ceiling joists and electrical wires. I needed to ascertain what was left to plan their removal and cataloguing.
Here are a few pictures of what I discovered yesterday; the many hidden treasures, with much concealed under a layer of soot.
Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.
The Fox West Theatre came onto my radar in February 2020. While cataloguing the scenery at the Tabor Opera House in Leadville, Colorado, I was contacted by Gregory Friesen, owner of CSNA Architects. He is involved with the Fox West Renovation in Trinidad, Colorado. Friesen drove up to Leadville and took me out to dinner at one night after work. He shared the scope of this massive renovation project.
The Fox West Theatre opened in 1908 with a full stock of scenery delivered by the Kansas City Scenic Co. This certainly piqued my interest. Although much of the historic scenery at the Fox West remains rolled up and tucked away on a paint bridge, there is a beautifully olio drop still hanging. It is a lovely example of early twentieth century scenic art.
Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.Kansas City Scenic Co., 1902. Tabor Opera House, Leadville, Colorado.
The Kansas City Scenic Co. was the same firm that delivered scenery to the Tabor Opera House in 1902, subcontracting a portion of their work to Sosman & Landis. Over the past year, I have traced the history of the Kansas City Scenic Co. and assembled a database with various installations delivered by the firm between 1887 and 1912.
Painted detail. Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.Painted detail. Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.
While planning my trip to Leadville this month, I decided to stop in Trinidad instead of Denver. Spending a night at 6,000+ feet really helps adjusting to the much higher altitude in Leadville. In Trinidad, I was accompanied by my rigging consultant Michael Powers and Greg Marsters of https://www.customplaster.net/ . We toured the Fox West Theater yesterday, exploring all of the nooks and crannies in this stunning building. It is an absolute delight to participate in ongoing discussions about the stage, scenery and decor. This is such a special place, and the team guiding the renovation has certainly done their research. The history page is extremely well written and the team’s passion for the venue is extremely contagious.
Here are a few photographs from our adventure yesterday. For more information about the history of the venue and the upcoming 2021 telethon on September 26, visit https://www.foxwesttheatre.com/
Leroy R. Close worked at Sosman & Landis from 1895 to 1901. Prior to working for the firm, Close ran L. R. Close & Co. in Kansas City, Missouri (c. 1883-1889). He worked as a scenic artist in Kansas from approximately 1883 until 1894. In 1894 the Kansas City Directory listed that Close relocated to Chicago. In Chicago, Close worked for the Sosman & Landis Scene Painting Studio as a scenic artist and traveling salesman. Here are a few articles that I have located to date, linking Close with Sosman & Landis.
On Feb. 8, 1895, the “Muscatine News-Tribune” reported,
“L. R. Close, agent for Sosman & Landis, the noted scenic artists of Chicago, was in the city yesterday and spent the time in taking measurements of the stage of the New Grand, which his firm has contracted to furnish with a complete stage equipment. He took orders for over forty pieces of new scenery, which include parlor arches, parlor settings, chamber, rustic and plain kitchen, horizon, woodland garden, bridge and prison scenes, set pieces and houses of all descriptions, new draperies, etc. New borders and electric lighting for the stage are also to be put in, making the cost of the stage equipment alone worth not less than $1,600. The work of tearing out the old stage will be commenced next week and the erection of the new stage will be under the direct supervision of Architect Zeidler, and the new scenery is expected to be here within three weeks. Mr. Munroe, who is to be the manager of the New Grand, says the Muscatine theatre-goers will be more delighted with the superb scenery when they see it, as well as with the whole new stage and the general transformation which the house is soon to undergo. All that is promised, and more, too, will be realized, so that the new theatre will be one in which our people will take unfeigned pride” (page 1). This same article was published again on Feb 13, 1895 (page 15).
The next mention of Close’s work for the firm was on Nov. 8, 1896, in the “Chicago Chronicle.” In the article entitled, “WORKS A NEAT TRICK But is Caught at it,” an interestingly story is told of thievery:
“George R. Clark will appear before Justice Underwood next Thursday to answer a charge of larceny. Two weeks ago, a canvas containing a telescope valued at $1,000 was stolen from L. R. Close, traveling salesman in the employ of Sosman & Landis, scenic artists. The day the telescope was stolen a young man walked into the Revere house with the telescope under his arm and registered under the name George R. Clark. He remained there for several days and then jumped his board bill and left the telescope in his room. Sosman & Landis immediately after the telescope was stolen advertised for it, offering a reward for information which would lead to its recovery. The same day that Clark left for Revere house a telephone message was received by Sosman & Landis saying that the telescope could be found there. Mr. Landis recovered the stolen article and later Clark received the reward. Thursday Clark was arrested and Mr. Landis identified him” (page 9). For context, Chicago’s Revere House was located on N. Clark Street, a short distance from the previous Sosman & Landis studio location (c. 1879-1886).
On Feb. 25, 1900, Sosman & Landis placed a want ad in the “Chicago Tribune” –
“Wanted – one good second-hand boiler, 60×16; one engine, 12×18 or 20; a 100 b.-p. good condition. All must be in good condition. Call or address L. R. Close, 236-238 Clinton-st., Chicago.” 236-238 S. Clinton Street was the main studio address for the firm (page 24).
. FYI- The Chicago street numbering later changed from 236-238 Clinton Street to 417-419 S. Clinton Street.”
One of the last mentions of Close’s work for the firm was just a few months before his passing when he was working in Wilmington, North Carolina. On Feb. 10, 1901, the “Wilmington Morning Star” reported, “Mr. L. R. Close, of the scene painting studio of Messrs. Sosman & Landis, 236 and 238 South Clinton Street, Chicago, arrived in this city yesterday to paint the scenery and other stage accessories for Mr. Pembroke Jones’ extensive pavilion which is being built by contractor Shepard at ‘Airlee,’ Mr. Jones’ handsome county seat on Wrightsville. Mr. Close is an artist of reputation and his contribution to the series of private theatricals which Mr. Jones will have at his place will be valuable” (page 1).
Close passed away only three months later on May 8, 1901. On May 10, the “Chicago Tribune” published his obituary:
“CLOSE- May 8, 1901. Le Roy Close. Aged 55 years. Funeral Sunday at 11:30 a.m. under the auspices of Dearborn Lodge No 310 AF&AM, from his late residence 879 Jackson-blvd. Interment at Westfield, Pa. At 11:30 a.m., under the auspices of Dearborn Lodge No. 310 A.F.&A.M., from his late residence 879 Jackson-blvd. Interment at Westfield, Pa.” (page 5). Close was buried at Mount Pleasant Cemetery in Westfield, Pennsylvania (Tioga County).
At the time of his passing, Close’s occupation was listed as “traveling salesman.”
Close’s life moving to Chicago is complicated, messy and bit difficult to decipher. Tracking down the records of his birth, early life, marriage/s and a various theatrical occupations posed quite a challenge. Keep in mind that over the years his first name also varies from Le Roy, Leroy R., Lee R. and L. R. His last name was Close, but his parents and a few siblings have historical records with the alternative spelling of Cloos and Clore.
However, here is what I have managed to piece together about Leroy Close’s life…
Leroy R. Close was the son of David Jacob Close (1809-1863) and Maria Sweet Close (1816-1891), born in Westfield, Pennsylvania, on February 10, 1846. The 1850 census listed Leroy as one seven children living on the Close farm near Westfield. The seven children were Ambrose (15 yrs., 1835-1916), Noah P. (13 yrs., 1838-1881), Marietta/Marie “May” E. (11 yrs., 1839-1910) Amelia (9 yrs., 1841-1892) Albert “Byron” (7 yrs., 1843- 1891), Leroy (5 yrs., 1846-1901) and Mathilda (2 yrs., 1848-1929). Not listed at in the 1850 Census were Albert (the eldest child who died in infancy, 1833-1834), the twins Bernard and Burnette E. (b. 1851), Maria (b. 1855) and Cora (b. 1857). There were two Alberts; the one who was born in 1833 (died in infancy), and Albert “Byron” (b. 1843) who was three years older than Leroy. Early on, Albert Byron is listed as Byron, and later as A. B. Close; same guy though.
In 1860, the Close family was still farming in Westfield, with the children in the household listed as Marietta (20 yrs., a teacher), Amelia (18 yrs.), Albert “Byron” (16 yrs., farms), Leroy (14 yrs.), Matilda (12 yrs.), Bernard (9 yrs.), Burnett (9 yrs.), Maria (5 yrs.), Cora (2 yrs.).
Albert Byron and Leroy left home by the 1860s when they came of age, unlike their sisters. Albert Byron enlisted in the Union Army and mustered out on August 22, 1862. He was part of the 136th Division, Pennsylvania Infantry. Achieving the rank of First Lieutenant, he later served in the 207th Division. I have yet to verify whether Leroy served in the military during the Civil War. In the post-war years, however, both Albert Byron and Leroy moved west. I tracked the two living in Oswego Kansas during the early 1870s. This is when Albert Byron became listed as A. B. Close.
In 1870, A. B. was working in Oswego, Kansas as Notary Public, dealer in Real Estate and Insurance agent. He was now listed in a variety of advertisements and newspaper articles, well-known as the brother of Leroy Close. With an office on Merchant Street in Oswego, advertisements in the “Kansas Democrat” listed A. B. Close as representing the Home Insurance Company of New York, the Kansas Insurance Company of Leavenworth, and Equitable Life. Initially, his main office was in Oswego, Kansas (8 Sept 1870, page 1).
A. B. and Leroy also tried their hand at other business ventures, including the sale of school supplies throughout the region. On May 2, 1873, the “Kansas Democrat” announced, “Mr. L. R. Close brings cheering reports of his late business trip to Howard and Cowley counties!” (page 5). Later that fall, the “Kansas Democrat” announced, “Mr. Leroy Close, at A. B. Close’s old stand in agent for all the most popular school books, also the celebrated programme clock. He has all the necessary apparatuses for furnishing schools complete. Teachers will do well to pay Mr. Close a visit” (Sept 19, 1873, page 4). On April 3, 1874, the “Kansas Democrat” announced, “Leroy Close, Esq. is in the city for a few days” (page 5). This may have been the changing point when Leroy shifts professions, becoming a painter/scenic artist. This timing also coincides with his brother’s move to Topeka, Kansas.
In 1874, A. B. moved from Oswego to Topeka, and then Independence, Kansas, becoming a land agent for the Atchison, Topeka & Santa Fe Railroad. His return visits to Oswego, however, still made news in local papers. A. B. Close even briefly returned to live in Oswego, but soon relocated to Elmira, New York. This was a big move, and he continued to work with the emigration of individuals westward. By 1876, A. B. Close was consistently listed in the Elmira City Directory as an agent for the next few years. By the 1880s, A. B.’s work permanently relocated him to San Antonio, Texas, where he would remain for the rest of his lived. In 1887, he was listed as an emigrant and locating agent, now for the Southern Pacific Railway System, his office at 327 Austin. A. B. Close passed away in 1891 and is buried in the San Antonio National Cemetery.
Leroy Close also left Oswego during the 1870s, first moving west to Peru, Kansas, and then heading north to Kansas City, Missouri. Newspaper articles indicate that Close’s career as a theatre professional commenced in 1880. By 1883, Leroy Close was listed as a painter in the Kansas City Directory, working at 525-527 Main Street and boarding at 952 Wyandotte. He was listed as only one of two scenic artists listed in the Kansas City Business Directory at that time. The other scenic artist was W. O. Thomas & Co., also working at the same studio address on Main. Work was plentiful, and on August, 24, 1883, Close published a want ad in the “Kansas City Star”:
“WANTED – Boy to work in Studio and learn to paint scenery, apply at 527 Main St., third floor. L. R. Close & Co.” (page 3). In 1884, Close and Thomas were again listed in the Kansas City Directory, still working at 527 Main.
On 21 March 1884, “The Chatauqua Journal” of Sedan, Kansas reported, “Leroy R. Close, Esq., ‘scenic artist’ of Kansas City was in Howard again on Tuesday. He has probably got the contract to furnish the ‘drop curtain’ and stage scenery for McKay & Eby’s opera house. We hope he will get the contract as we believe he will do good work and give satisfaction. Leroy is an old Kansas boy, having been one of the pioneers in Oswego and later Peru, Howard county.- Courant” (page 3).
He secured the contract for the opera house on May 16, 1884, the newspaper reported, “L. R. Close & Co., scenic artists of No. 527 Main Street, Kansas City, Mr. Close has been in Howard for a week superintending the work of putting up scenery and we are informed by Mr. Eby that everything is being done as well, if not really better than is called for by the contract. Mr. Close is engaged extensively in this line of business and he takes great pride in doing his work well and giving satisfaction to his customers.”
By 1885, Close enlarged his studio staff again. That year, the Kansas City Directory listed Ben Dunn as working for L. R. Close & Co. Shortly after starting with Close, Dunn partnered with fellow artists Oldham and Tschudi, to open their own scenic studio.
On Oct. 21, 1886, the “Garden City Daily Herald,” reported, “L. R. Close, a scenic artist from Kansas City, Mo., the gentleman who put the scenery in the Stevens opera house in this city and the originator of the Western Sport, a theatrical paper at Kansas City, called on the HERALD to-day. He is well please with Garden City and says that we are now in shape to secure the best attractions on the road.”
L. R. Close & Co. advertisement in the 1887 J. R. Clancy catalog.
In 1886 Close moved his studio location to another multi-story building, now on Broadway in Kansas City. The 1886 Kansas City Directory, included listings for Leroy Close and L. R. Close & Co., but now his business was located at 516 Broadway. Interestingly, a former Sosman & Landis employee, Lemuel L. Graham, listed his studio at 527 Main; it was like the scenic studio shuffle. It remains unclear whether Close’s move to 516 Broadway was a step up or step down. Keep in mind that by 1884, Sosman & Landis established a branch office when former employee, scenic artist Lemuel L. Graham, also founding Graham & Davis scenic studio in Kansas City, represented the Chicago firm. Close continued to land one job after another, but the competition continued to increase, especially with the new firm established his former employee Dunn – the Kansas City Scenic Co. (the second iteration of the studio name).
Throughout 1886 and 1887, L. R. Close’s studio remained at 514-516 Broadway, with Lemuel L. Graham’s studio at 525-527 Main. Competition increased in the city and soon Edward Lowndes was also listed in the scenic artist section of the Kansas City Directory; his offices were at “306 ½ e 12th.”
Close continued to plug along with work, and on May 30, 1887, a “Kansas City Star” include a want ad placed by Close: “WANTED – A good stout boy wanted to work in a studio. Call at 516 Broadway, L. R. Close & Co.”
One of many want ads placed by L. R. Close in Kansas City newspapers.
Something happened at this time, as Close set his sights on other business ventures in St. Joseph, Missouri. He starts leasing and managing performance venues in the region.
On Nov. 24 Nov. 1887, the “St. Joseph Gazette,” reported:
“The New Theatre. The statement was made in an evening paper yesterday that a deal had been closed by which L. R. Close and A. J. Axtle of Kansas City, had secured the lease on the Natatorium building for five years, and that it would be opened for a theatre soon. The publication was premature, to say the least. The Gazette has been aware for several days that negotiations looking to the end above indicated were pending. They are still pending, no definite understanding yet having been arrived at by the parties interested, and it is possible that nothing will come of them” (page 5). And yet, Close just plugged along and found a partner to invest in his idea.
On Sept. 27, 1888, the “St. Joseph Gazette,” published:
“The New Theatre” – converting Natatorium into an opera house…Mr. L. R. Close, the well-known scenic artist of Kansas City, and one of the lessees of Streckebein’s garden, has leased the building for a term of five years, and proposes to supply the city of St. Joseph with one of the finest and best arranged popular-price places of amusements in the West. The new theatre will be called the Grand Opera House, and will be managed by Mr. Close in person, and he will be assisted by Mr. Wm. T. Duncan, press agent of the Eden Musee” (page 4).
At the beginning of 1889, Close’s investments in the St. Joseph opera house was included with building investments and improvements being made throughout 1888. On Jan. 1, 1889, the “St. Joseph Herald” reported, “A Fine Showing. Over $1,600,000 expended in buildings during the Year…L. R. Close. Remodeling building for an opera house, southwest corner Fifth and Jule streets…$8,000” (page 27).
The same issue included another article about Close’s business activities:
“The Grand Theatre. Mr. L. R. Close, the lessee and manager of the new house, was one of the proprietors of the St. Joseph Summer Garden, and the support which was given the attractions presented assured him that a new popular priced theater would be well supported. The old Natatorium building at the southwest corner of Fifth and Jule streets, was accordingly leased with the privilege of buying and the work of remodeling it commenced. At first it was only intended to expend $3,000 or $4,000 in fitting up the new building, but as work progressed, new improvements suggested themselves, and as a result $15,000 will be spent before the theatre is formally opened. When completed the theatre will be one of the handsomest in the West. It will have a seating capacity of 1,800, will be lighted be electricity and have fifteen dressing rooms. The first floor will seat 800 people, the balcony 400 and the loges and boxes 200. Two bathrooms for the performers is an innovation which Manager Close thinks is the “greatest thing out.” The stage is 40×60 feet and the curtain opening is 26×30.”
1889 advertisement listing L. R. Close as manager of the Grand Opera House in St. Joseph.
On January 20, the “St. Joseph Herald” featured the Grand’s opening reporting, “Mr. L. R. Close, has been in the theatrical busines for nine years, and has been remarkably successful. He is the head of scenic studio of L. R. Close & Co. of Kansas City, and has fitted up in the United States over 600 theaters.” Close’s asst. manager was “Mr. W. T. Duncan, well-known in St. Joseph, will be the assistant manager and treasurer. Mr. Duncan has grown up in the theatrical business and is familiar with its every detail. He bore the same relation to Mr. Close with summer garden and was also press agent for Eden Musee. These two gentlemen are thoroughly acquainted with the St. Joseph theatre-going public and will furnish first-class attractions.”
Another article on Jan. 20, 1889, in the “St. Joseph Gazette” reported, “The theatre is a jewel and is bound to prove a success. The stage is probably the main feature and theatrical companies will call the management blessed. It is fifty feet deep by sixty feet wide and there are fifteen dressing rooms. These are sixteen complete changes of scenery, only two of which will be used for the opening attraction. Mr. Close himself conducts a studio in Kansas City and has fitted out some of the principal theaters in the country, among them the Gillis and Ninth street theaters, Kansas City. The drop-curtain is a scene of Monaco, very artistically executed, above which is a picture of William Shakespeare…Mr. L. R. Close the proprietor and manager, has been a prominent scenic artist for many years, with headquarters in Kansas City. He fitted up the Warder Grand, the Gillis, the Coates and the Ninth Street theatre of Kansas City, besides many throughout the western country. He conducted the summer garden here last summer, which was a pronounced success. He opens a cosy little theatre here. The house is to be run as a popular price house, yet Mr. Close promises only first-class attractions.”
He was riding a wave that soon crashed. Something radically changed and then his venue caught fire.
On March 1, 1889, the “St. Joseph Gazette” reported:
“And the Grand Too.
Mr. L. M. Crawford Secures Managerial Control of Another Opera House.
Mr. Lester M. Crawford, the Napoleon of the theatrical, as the Kansas City Times delights to call him, completed arrangements yesterday by which he will become manager if the Grand March 25, for a term of five years, Mr. L. R. Close, returning to his studio in Kansas City.
When Crawford came to St. Joseph, the knowing ones predicted that inside of a few months, he would secure possession of the Grand. When it comes to securing an opera house, it is always safe to say that Mr. Crawford will get it in time. Mr. D. A. Latshaw who has been the manager the Warder Grand in Kansas City and C P. Crawford will have charge of the two St. Joseph houses. Mr. Crawford will have charge of the new house for a term of five years at which time his ease on Tottle’s will expire. Mr. Crawford has the complete managerial contract of the following houses beside booking the attractions for a number of others: Warder Grand, Kansas City; Grand, Omaha; Funk, Lincoln; Lewis, Fremont; Kerr, Hastings; Price’s, Atchison; Crawford’s, Leavenworth; Crawford’s, Topeka; Crawford Grand, Wichita; Fifth Avenue, Arkansas City; Grand, Winfield; Ragsdale, Newton; Bowerstock, Lawrence; Tootle’s and Grand, St. Joseph.
Sometime between Crawford showing interest in the venue and taking over the lease, the opera house burned down. Close was still left in charge of the theater.
On June 6, 1889, the “St. Joseph Herald” reported, “L. R. Close says he will soon commence rebuilding the Grand Opera House…L. R. Close, manager of the Grand Opera House up to the time it burned, arrived in the city Tuesday. He was met on the street yesterday by a HERALD reported and in response to the question as to whether he was going to rebuild the Grand or not said: “Yes, sir; I intend to rebuild and remodel the opera house in a manner that will make it a ‘dandy.’ The roof will be raised, the front improved and the interior will be thoroughly and completely changed in every way possible to make it a first class house.” “Are you booking any attractions for next season””
“Nearly every day, and there is nothing ‘rotten’ with any of them, as I am taking especial pains to book nothing but the latest and the best attractions I can get.
Mr. Close is now having the plans and specifications of the new house made and will give them to the public in the near future. As soon as they are completed work on the house will commence” (page 3).
It appears that Close lost the building within the year and was forced to returned to Kansas City in his old role as scenic artist. Much of his decision may have been a result of a court case. On May 24, 1890, the “St. Joseph Herald,” reported “J. W. Powers vs. L. R. Close et al., jury waived and case submitted to the court. Testimony heard and judgement rendered for the plaintiff against L. R. Close for $149.36, and lien on property mentioned in the petition” (page 3).
Close returned to Kansas City and was again listed in the 1891 Kansas City Directory. Listed as “Lee R. Close,” he was again a scenic artist at 525 Main, residing at 630 Locust. Close continued to work as a scenic artist in the city for the next three years. In 1894, when the Kansas City Directory listed “Lee R. Close moved to Chicago.”
In the Windy City, Close was listed as a commercial traveler (salesman) from 1896-1901. In 1896, he was living in the 669 Jackson hotel, but soon settled at 680 W. Jackson Boulevard. The 1900 US Federal Census also listed this address, so little changed until his passing.
By 1900, Leroy was living with his wife, Luella (b. 1857), of twenty-six years. For context, Luella Close was born in Ohio and the couple did not appear to have had any children. In 1900, the couple was living with lodgers Emanuel Mandi (broker) and Allen J. Straight (clerk). By the spring of 1901, Leroy passed away.
Now this is where is gets a little odd. There is no question that this is the same Leroy Close who worked as a scenic artist and theatre manager in Kansas. In Chicago he was a salesman for Sosman & Landis. On Leroy’s Illinois death certificate there is the same birthdate (Feb 10, 1846), same birth place (Westfield, Pennsylvania), and same parents (David and Maria). All of the details match in corresponding documents too, including siblings. Chicago newspaper obituaries even report that his remains are brought to Westfield, Pennsylvania. Close was buried at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.
Gravestone of Leroy Close at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.
Then I came across the probate court records and I started to wonder what was going on…
The estate of Leroy Close went through probate, again same birth and death dates. He left personal property valued at $7,000, all part of a $14,000 estate. However, there was another woman listed as his widow – Maranda W. Close, not Luella. Maranda was appointed administratrix of the Close estate, along with Ralph Irving Terwilliger and Sarah Elizabeth Terwilliger. On May 29, 1902 (the probate record date), Miranda’s address was listed as 919 Jackson Blvd, Chicago. The Terwilligers address was 232 W. Davidson St. in Chicago. I cannot find any connection between Leroy, Luella, Maranda and the Terwilligers. Except, I recalled the name Terwilliger, as it is unique.
Ralph Terwilliger was a paint boy to Thomas G. Moses in the 1880s and remained close friends until his passing. Moses even pasted a newspaper clipping of Terwilliger in his scrap book years later writing the caption “Paint boy for Burridge, Moses and Louderback during the year 1887 and 1888.” In 1910 also Moses wrote, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him. He was President of a city bank. He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week. He had prospered. With his wife and two daughters he enjoys a cottage near our camp.”
William C. Maier worked for Sosman & Landis from approximately 1910 to 1920. Thomas G. Moses mentioned Maier in his 1917 memoirs but did not mention his role at the firm. Maier was mentioned by Thomas G. Moses in his 1917 memoirs. He wrote, “Closed a contract for two scenes with Gatts and Company, $825.00 for ‘Katzenjammer Kids.’ We hustled it out. Maier and I went to Michigan to put it on and nearly froze coming back. 14 degrees below zero. As there was no train, we had to ride home in the trolley.” This is the only mention of Maier in Moses’ memoirs. Here is my post about their 1917 project: https://drypigment.net/2020/03/27/tales-from-a-scenic-artist-and-scholar-part-944-thomas-g-moses-and-the-katzenjammer-kids-1917/
Five years earlier, in 1912, Maier was listed as a technical director at Sosman & Landis. That fall, Maier was representing the firm in Davenport, at the Lyric theater on Perry Street at E. 2nd Street. Previously known as the Princess Theatre, the building was extensively renovated and began featuring high-class vaudeville. J. Harry Blanchard was the new manager of the New Lyric, with Sosman & Landis delivering new scenery and stage machinery. On Nov. 2, “The Daily Times” reported, “The stage has been enlarged to meet the requirements of all vaudeville acts that will be brought here.”
Less than a week later, Maier was featured in another “Daily Times” article on Nov. 7:
“HE PRAISES THE LYRIC.
William C. Maier Thinks the New Theater is a Charming Place.
Wm. C. Maier, technical director for Sosman & Landis, America’s leading scenic directors, today paid a glowing tribute to the new Lyric theater. Mr. Maier’s duties take him from coast to coast and he has seen the interior of practically every theater in the country, therefore his opinion is of more than ordinary value. In his conversation today Mr. Maier stated that the decorations and color effects in the lyric effects in the Lyric were as charming and harmonious as he has ever seen. The stage of the Lyric, he claims, is as large as that of the Princess in Chicago, and is the best equipped, both as to the comfort of the actors and the handling of scenery, he has ever come in contact with” (Davenport, Iowa, page 7). This same article was also published in the “Quad-City Times” on Nov. 7, 1912 (page 3).
Maier was still working for the firm in 1918. His draft registration card listed his occupation as “stage craft,” with his employer being Sosman & Landis. At the time, his physical appearance was described as tall, medium build, brown hair and brown eyes. He was recently married and listed his residence as 703 Kilbourne in Chicago.
1918 Draft registration for William C. Maier (1879-1929).
Maier had married Louisa A. Wiehle on June 17, 1917, each 38 years old at the time. In various historical records, Louisa is also listed as Louise, and her maiden name as Weihle, Wieble, and Wickle; all a result of software regognition systems. Born in Illinois, Louisa was the daughter of German immigrants Ernst W. Wiehle (1842-1922) and Susana Hennen (1853-1924). She was one of four surviving children born to the couple, with her siblings being William C. (b. 1875); Amelia (b. 1883) and Annie (b. 1887). In 1910 the US Census listed Louise as a dressmaker, still living with her parents and two of three siblings, William and Annie. At this time, her father and brother were working as harness makers.
Maier was also a German immigrant, one of many working at Sosman & Landis. He was born on February 10, 1879, in Stuttgart, Württemberg, Germany. His parents were Wilhelm Conrad Maier (b. 1848) and Eva Dorothea Gläser (also recorded as Dorothy Glaeser/Glaser). The couple was married in 1875 and emigrated to America with their infant son in 1880. Interestingly, Maier’s German birth and baptismal records indicate that he was christened Karl Willhelm Maier. Although his birth date, birthplace and the names of his parents remain consistent, his name was changed to William C. Meier in America; no junior added. This may have occurred upon entry to the United States, possibly starting as a typographical or registration error. Regardless, his new name, William C. Maier, would remain consistent for the remainder of his life, including his death record and obituary.
In 1899, Maier became a naturalized and later registered for the WWI draft, but I have yet to find any indication that he served in the military.
The 1920 US Federal Census also listed similar information for William C. Maier, but his official occupation was now “Stage Manager,” however still working in the Theatre Industry. Little is know of Maier after Sosman & Landis closed or his work in the 1920s.
Maier passed during the spring of 1929. His obituary was published in the “Chicago Tribune” on May 8 (page 45): MAIER – William C. Maier. Dearly beloved husband of Louise A., nee Wiehle, fond brother of Sophie Brown, Elizabeth Clavelle, and Charles Maier, Member of Union Park Lodge, No. 610, A.F. & A.M., Lincoln Park chapter, No. 177, R.A.M., St. Bernard Commandery, No. 35, K.T., Medinah Temple. Funeral Wednesday, May 8 at 2 P.M., from late residence, 1117 S. Mayfield-av. Interment Waldheim.”
Sosman & Landis technical director, William C. Maier.
After the passing of her husband, Louise’s brother, William C. Wiele, moved into their home. Lousia was still listed as the head of the household, remaining at her previous residence, 1117 Mayfield Ave. S.
Louise passed away June 30, 1956. She is buried next to her husband at Forest Home Cemetery in Forest Park, Illinois.
Charles H. Ritter worked at Sosman & Landis sporadically throughout the 1880s and 1890s. Like most of the artists on staff, he was also affiliated with other theaters and even ran his own business during this time. He was part of the Sosman & Landis labor pool that produced a massive amount of scenery during this time. Although a definitive start date remains unknown, he was working for the firm in 1885 and moved into the new studio in 1886.
On Feb. 28, 1886, Ritter’s portrait was included with those of David A. Strong, John H. Young, Walter W. Burridge, Thomas G. Moses, and Henry C. Tryon in the “Inter Ocean” Newspaper. All were featured in an article entitled “Up in the Clouds” (page 9). The article included “Brief Sketches of Chicagoans Prominent in Difficult and Exacting Art.” All of the scenic artists featured in the article were associated with the Sosman & Landis studio at the time.
Portrait of Charles Ritter that accompanied the article.
Under Ritter’s portrait was the caption:
“Chas. H. Ritter who is a present engaged at Hooley’s stand’s deservedly high in the profession, and has painted scenes at that house for the past five years. He was born in New York and studied with Richard Marston at the Union Square Theater for a period of eight years during the management of Shook and Palmer. He is the inventor of a foreground for the cylindrical panoramas, which adds much to the illusion by rendering the line between the foreground of properties as now used and the painted distance without possible detection.”
One month before the article appeared in the “Inter Ocean,” the new Sosman & Landis studio opened on South Clinton Street. Costing over $50,000, the new building remained the permanent home for firm until 1923. Moses and Strong were the first employees to work in the space during 1886; their project, a panorama. Of this new studio, Moses wrote, “Our new studio on Clinton Street was now ready for us and Mr. Strong and I started on a very interesting panorama of Grant’s trip around the world. We were alone in the big studio for some time before the whole force came over. We enjoyed painting the panorama as it was continuous. There was some careful blending to be done.” Ritter was part of that force and had recently patented a structure for panoramas and dioramas.
This was a little difficult to track down as the recognition software erroneously translates his last name as Bitter, not Ritter.
The mid-1880s were an exciting time for scenic artists in Chicago. The first exhibition of watercolor paintings by American Scenic Artists were the feature for “The Scene Painters’ Show during the fall of 1885. During the spring of that year their exhibit was planned. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4).
Well-known scenic artists from all over the country descended on the Windy City and stayed. Sosman & Landis was able to hire the best and advertised this fact in their catalogues. By 1894, the firm advertised, “Our artists are selected with reference to their special abilities. Some excel in designing and painting drop curtains, others in landscapes, and others in interior scenes; so we divide out work that each is given what he can do best.” They streamlined the process by working toward the strengths of each employee. Ritter was especially well known for his exterior painting abilities.
Ritter was born in New York in approximately 1845. He was first listed as an artist in New York by 1867, residing at 128 Eldridge.
He first studied with Richard Marston at Shook & Palmer’s Union-Square Theater in 1871. Subsequent listing from 1875 to 1880 in the New York Directory continued to included Ritter at 69 Fourth Av. and then 202 B 16th. He remained at the Union Square Theare for eight years before moving west to Chicago where he became associated with Hooley’s Theatre, the Grand Opera House and Sosman & Landis. By 1888, Ritter was prominently listed in the Chicago Directory as Hooley’s scenic artist, boarding at the Southern Hotel. His affiliation with Sosman & Landis was still mentioned when Ritter painted scenery in Indianapolis a decade later. The firm placed Ritter at the Grand in Indianapolis at the same time they placed Fred McGruder at the Pike Theatre in Cincinnati, Ohio. This was after the establishment of Sosman, Landis and Hunt, a theatrical management firm. They staffed their new theaters with some of their best scenic artists to paint scenery and other shows for the season. This was brilliant, as it also provided regional offices to efficiently produce scenery.
On November 2, 1898, the “Indianapolis Journal” reported,
“The man who had a prominent hand in the beautiful stage settings seen at the Grand during the past three weeks and who has, up to this time, been unknown here, C. H. Ritter. Mr. Ritter came from the studio of Sosman & Landis, at Chicago, six weeks ago, and will remain all winter at the Grand, getting up scenery for each production. While, of course, he has been furnished every week with an outline of just what is needed for the coming week’s play, the artistic portion of the painting is altogether his own. He has given ideas here and there, but, in the main, the beautiful scenery, which affords so much pleasure each week to the eye, can be credited to his brush. Mr. Ritter is said to be one of the best scenic artists in the country. For nine years he was the artist at the Union Square Theatre, New York, and for seven years was engaged in a similar capacity at Hooley’s Theatre, Chicago. He painted all of the stock scenery of the Grand Opera House, Chicago, and his more notable achievements for stars and road companies include all of the settings for Richard Mansfield’s production of “The First Violin,” Modjeska’s plays, Roland Reed’s plays, “The Devil’s Island” and the last act of “The Moth and the Flame,” which was seen at English’s last week. Sosman & Landis regard Mr. Ritter as one of the most capable scenic artists ever in their studio, and they selected him for the Indianapolis work with a view to giving this city the best possible results in the scenic line. Mr. Ritter, with the help of one assistant, gets up all the scenery for the stock company’s production” (page 5).
As with McGruder in Cincinnati, the artistic process was described in detail for an upcoming production. It was a brilliant marketing move. On March 29, 1899, the “Indianapolis News” reported:
“GRAND’S SCENE PAINTER.
A Visit to His Workshop in the Theater.
A Network of Ropes and Much Apparent Rubbish Turn Out to be Parts of an Ordinary System of Scenic Arrangement.
The beautiful scenery used at the Grand Opera House, which has become so much a feature of every play, Is the work of Charles H. Ritter, head of the scene-painting department of the stock company. To reach Mr. Ritter’s workshop, a long, narrow, rickety flight of stairs must be mounted. The place looks like a neglected attic, with rubbish scattered about In apparent confusion. A network of heavy ropes confuses the senses. The piles of “rubbish” are soon seen, however, to be articles useful in decorating a stage or portions of scenes, while the network of ropes become an orderly, systematic arrangement of “stays” and “guys” by which pieces of scenery are raised or lowered. Immediately behind this mass of cordage Is a platform, about five feet wide, supported by large cables at either end. On this narrow, swinging base, the men who paint the scenery that pleases comfortably-seated audiences nightly, are obliged to stand while they work. On each side of this platform Is a “paint-frame.” which Is also suspended by guide-ropes. One of these paint-frames is twenty feet high and forty feet long, while the other is twenty-six feet in bight and forty feet In length. These frames are the supporting background for canvas, while it Is being transformed, by the artist’s strokes. Into interior and exterior scenes of greater or less beauty, as the exigencies of the play demand. Bold relief and strong coloring being required for scenic effects, there is considerable difference between the Implements employed by a scene painter and those found in the studio of a landscape or portrait artist. Mr. Ritter and his two assistants, when seen at work, were laying on colors with brushes that resembled those used by house painters. When work on a scene Is first begun, the effect is as though the coloring were being literally daubed on the canvas, but in a short time a realistic picture takes form. The first step In painting a scene of any description is to “lay on” the background. After this is done, the details of the scene are blocked out, to be filled In later.
Illustration that accompanied the article.
Works by a “Plot.”
Mr. Ritter receives a “plot” each week of how the completed scene should appear, from Stage Manager Bellows, telling whether the scene is to be an Interior or an exterior, and, If an Interior effect, the locations of the various walls, doors, etc. In the “plot” reproduced, which is the scene shown in act 2 of “The Charity Ball,” a drop curtain at the rear of the stage Is called for, in which, through the windows of the room represented on the stage, the audience can see a street or park In winter— a street, housetops being shown. Having received this “plot,” Mr. Ritter then devises some form of “Interior” or “exterior.” If he Is to paint a room, he must get up appropriate designs to represent wallpaper and celling decorations. Understanding that he is to paint a winter scene for the background. he is left to choose what kind of scene it shall be. For interior settings he finds the sample-books issued by wallpaper manufacturers, for use by their traveling salesmen, very helpful in choosing designs for mural decorations. He also picks up Ideas from his dally observations. For example, he frequently sees an arch over the front of a private house that suggests to him a valuable Idea for a similar piece ml decorative work to be used on the stage.
Liquid paint is not used by scene painters. The coloring employed by them comes In the form of powder, contained In large paper sacks. When used this powder is mixed with “sizing” or glue, which performs the function of holding the color firmly to the canvas, and thus a quickly mixed liquid paint Is obtained.
Mr. Ritter’s Career.
Charles H. Ritter has been in the scene painting business all of his working life. He obtained his first Instruction at Shook & Palmer’s Union-Square Theater In 1871 from Richard Marston, one of the greatest scenic artists of that period. After remaining at the Union Square for nine years. Mr. Ritter went to Hooley, of Chicago. He remained there seven years, when the rapid development of traveling companies made unnecessary the employment of a local scenic artist. Mr. Ritter then opened a studio in the Grand Opera House at Chicago. While thus engaged, he did work for prominent people in the theatrical world, and assisted In the production of many plays. Rice and Dixey engaged him to paint the scenery for their “Adonis.” Robson and Crane had him furnish the settings for “The Two Dromio’s.” Mr. Ritter cherishes a commendatory letter which he received from Stuart Robson, In regard to the scenes painted for this play. Richard Mansfield drew on Mr. Ritter for some of the scenery in “The First Violin.” Perhaps the most recent notable work Mr. Ritter has executed previous to his engagement with the Grand stock company, was the scenery employed by James H. Wallhick In producing “Devil’s Island,” which was seen at English’s Opera House recently” (page 11).
By 1910, Ritter was living in New York. The 1910 Census still listed Ritter as an artist in the painting industry, now 65 yrs. old. The report clearly lists him as divorced (“D”), and living with fellow artist James Wilson on West 24th Street. James Howell Wilson had also worked in Chicago and participated in the planning of the 1885 Scene Painters show. Their participation was mention by John Moran in his article about the Scene Painter’s Show for “Art Union, a Monthly Magazine of Art” in 1885 (Vol. 2, No. 4,p. 85): “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Masha, C. Better, Chas. Ritter, H. Buhler and John Howell Wilson, whose “Country Road ‘76” is especially fresh, verdurous and bright. It is to be hoped that this is only the forerunner of many like exhibitions and it marks a decided growth in the national art spirit.”
I have yet to find any specifics concerning Ritter’s birth, marriage or death. There were many men named Charles H. Ritter who lived at this time; the majority remained farmers their entire lives.
Clipping of Charles H. Ritter pasted in the scrapbook of Thomas G. Moses.
Albert B. Mason was another Sosman & Landis scenic artist who worked at the studio for approximately eight years, from 1887 to 1895. Mason was added to the studio staff shortly after the main studio was constructed in 1886.
Walking home from the studio on February 9, 1895, Mason was assaulted and robbed. During the attack, Mason’s skull was fractured, and he died shortly thereafter from an arterial hemorrhage. In regard to his location, the Sosman & Landis studio was located at 236 South Clinton Street and Mason lived only a short distance away at 130 West Van Buren street. The area was well known as a rough neighborhood.
At the time of his passing, Mason was working on a drop curtain for the newly constructed Auditorium Theatre in Newark, Ohio.
The Auditorium in Newark, Ohio, was constructed between 1894 and 1895.
On February 17, 1895, the “Newark Daily Advocate” published included an article entitled, “The Artist Who Painted the Auditorium’s Drop Curtain, Murdered in Chicago” (“Newark Daily Advocate,” 17 Feb 1895, page 1).
Here is the article in its entirety:
“The drop curtain for the Memorial auditorium arrived from Chicago yesterday. The delay in sending the curtain was due to an unfortunate occurrence in Chicago a few days ago. Albert B. Mason, one of the best artists in the employ of Sosman & Landis, was engaged in painting the curtain and on his return home from work he was attacked by footpads [nineteenth-century term for robber or thief], receiving injuries from which he died. Another skillful artist was secured, and the curtain finished as soon as possible. Concerning the murder of Mr. Mason a Chicago paper says: Albert B. Mason, scenic artist, lies dead at his home, the result of wounds received in a fight with two thugs who assaulted and tried to rob him. On the way home when crossing the alley between Jefferson and Desplaines streets he was jumped on by thieves and knocked down. The blows and fall dazed him for a moment, but he quickly regained his feet and made for the two men to fight them off. But they followed up their attack, one on either side, hitting him in the face and neck. He was a big, strong man and his assailants were also of large build as well as desperate characters. He made a brave fight, but they were getting the better of him. As quickly as he could Mr. Mason drew his revolver. As shots were heard it is supposed he commenced firing, thinking this would cause the villains to run away. Instead, however, they wrested the weapon from him, and while one held his arms the other pounded him over the head with it until he fell unconscious to the ground; then they took his watch and ran. Two policemen captured them a few moments later. With the assistance of those who came to his rescue, Mr. Mason, stunned and bleeding, managed to get home and send a doctor. It was found that he had been wounded on the top of his head, from the effects of which he died at 1 o’clock yesterday morning. It is said to be a clear case of murder and the murderers are held at Desplaines Street Station. The police know them as O’Brien and Lyons, two of he toughest of the many tough footpads that infest the South Clinton, Desplaines, and Halsted street districts. They were arrested by Patrolmen Hickey and Hoffman, of the Desplaines Station force shortly after their attempt to hold up Mr. Mason. The latter appeared at the station and identified his assailants. Albert A. Mason has been painting theatrical scenery for the firm Sosman & Landis, No. 236 South Clinton street, seven of eight years and was one of their best artists.”
Harry Lyons, alias “Butch” Lyons and Cornelius O’Brien were apprehended after the attack and held without bail. In March of that year the Grand Jury indicted both on a charge of murder. Lyons was given a death sentence, and O’Brien received a sentence of twenty years in prison. Lyons was hanged at the County jail that fall. An article on October 12, 1895, in the “Chicago Tribune,” described all of the grizzly details of the murder, court case, and execution (page 14).
I have located very information about this relatively unknown Sosman & Landis artist.
Mason was born in Michigan in 1858. He was the son of Canadian-born Stephen Mason (1811-?) and Laura Green Mason (1823-1907). His mother’s family hailed from Pennsylvania. His siblings were Mary D. Mason Harrington (1838-1918), Harry Mason (1838-918), Stephen Mason (1840-1873), Bertha Sarah Mason Homser (1851-1927), George Mason (1853-1944), Harriet Mason (1856-?), James Mason (1861-?), Emma Elenore Mason Fox (1864-1950) and Eunice Mason (1864-1878).
By 1860, 2-yrs.-old Albert Mason was living with his mother and three siblings in Blissfield, Lenawee County, Michigan. The Mason household included Laura (37 yrs. old), Elizabeth (14 yrs. old), Sarah (9 yrs. old), George (7 yrs. old) and Albert (2 yrs. old). All three of Albert’s siblings were born in Ohio, whereas Albert was born in Michigan. His mother was working as a weaver, listing her birthplace as Pennsylvania.
Ten years later, the Mason family was still living in Blissfield. The 1870 US Federal Census did not list Albert’s father as part of the household, only his mother (46 yrs.) and siblings, George (17 yrs.), James (9 yrs.) and Emily (5 yrs.). George and Albert were listed as working in a “stage factory.”.
By the age of twenty-one, Mason was living in Toledo, Ohio. The 1879 City Directory listed him as a painter and boarding with his mother. His brother James Mason was also listed as a painter, living in the same household. Their mother was also in the directory and listed as the widow of Stephen Mason, residing at “s s Germania 3 e of Heston.” In 1879, Mason married Ellen O’Neil in Monroe, Michigan.
By 1880, 22-yrs.-old Mason was living with his wife “Ella” in Defiance. The couple lived on Harrison St. with Mason’s younger sister, Emma. It remains unclear when or why Mason moved to Chicago, but he began working for Sosman & Landis between 1887 and 1888.
His death was reported in “The Evening News” of Defiance, Ohio (page 8): “Albert B. Mason, a respected citizen assaulted by two thugs. He is shot twice in head-Notorious Butch Lyons and Con O’Brien are remanded to jail.
(Chicago Mail, Feb. 13, 1895)
“Albert B. Mason, one of our oldest and most valued employes lies dead at his home at 130 West Van Buren street, form the effects of an assault by two thugs who robbed, beat and shot him last Saturday evening on Van Buren Street, near Jefferson. So wrote Sosman & Landis, whose scene painting studio is 236 and 238 South Clinton street, to the Mail this morning. At the very moment that the letter was being written, Harry Lyons, alias ‘Butch’ Lyons, and John O’Brien, alias Con O’Brien, were being remanded back to jail at the Desplaines street police court without bail to await the action of the coroner’s jury tomorrow morning, when it views the dead body of Albert B. Mason. The latter died at 11 o’clock this morning from the effects of an assault which Butch Lyons and Conb O’Brien are being charged with having made upon the defenseless man.
Happened four days ago.
Mason was held up and robbed Saturday night at 9:30 on Van Buren by Lyons and O’Brien, who stepped out of an alley between Jefferson and Desplaines streets as he was passing and assaulted him.
Mason drew a revolver and Lyons is said to have wrenched it from his hands and fired two shots. One of the bullets grazed his forehead. Mason was also struck on the head with the butt of the pistol. As Lyons and O’Brien started away they ran into officers Hickey and Hoffman, of the Desplaines street station, who had been attracted by the shots. The pair were locked up at the station and Mason was taken home.
Mason appeared in court Monday morning with his head bandaged. He identified Lyons and O’Brien as the robbers. They were placed under bonds in the sum of $4,400. This morning as the men were arraigned again, Capt. Gibbons brought in word that Mason was dead. The wound had not been considered serious until morning when a blood vessel burst in his head, due, it was reported, to the injuries, and the doctor stated that he could not live.
At the coroner’s inquest the jury brought the verdict of willful murder against Lyons and O’Brien and remanded them back to jail without bail awaiting the action of the grand jury.”
Albert’s mother died on March 19, 1907, and was buried in Lambertville Cemetery, Lambertville, Monroe County, Michigan. Sadly, the cemetery records were destroyed in a fire. It is possible that Albert was also buried in Lambertville Cemetery.
J. C. Blaine is part of the prequel to the history of Sosman & Landis. He worked as a scenic artist and stage carpenter for J. S. Sosman, and was later associated with the firm in the 1890s. I posted new information to my blog on June 4, 2023; the link is below. Here is what I originally wrote in June 2021:
“I first came across Blaine’s name in an article about Sosman in 1875. The two delivered scenery to Semon’s Opera House that year. Afterwards, they painted a billboard featuring local businesses. Their work was published in the “Fairfield Ledger” on October 28, 1875:
“Very Pretty.- We mean that bulletin board painted by Messrs. Sosman & Blain, the artists who painted the scenery for the new Opera House. The bulletin board is about 10×20 feet in size, and contains the cards of a number of enterprising business men. It will be put up on the southeast corner of the Park, and will prove a handsome and attractive advertisement. The work is a credit to Messrs. Sosman & Blain.”
From the Fairfield Ledger, Oct. 28, 1875.
A few weeks later their work was again mentioned in an article entitled “Business Chart.” On November 4, 1875, the “Fairfield Ledger” reported, “The most beautiful and attractive business chart ever seen in Fairfield is the one now on the north side of the P. O. building. In size it is 18×16 feet, and contains the business cards of about twenty of Fairfield’s business men. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blaine, who so handsomely painted the scenery in Semon’s Opera House.”
I want to take a moment to examine Semon’s Opera House, as it is representative of so many stages at that time. The new theater was described in detail on October 7, 1875, in the “Fairfield Ledger” (page 6). The article reported:
“The stage is 44×20 in size, ample space being given for dressing rooms. There are two entrances to the stage from the audience and one by the outside stairway. It is circular in front, and the footlights, of which there are about 15, give plenty of light. The scenery was painted by Mr. J. S. Sosman of McComb [sic.], Ills., and bears evidence of the work of a master painter, and a man skilled in his profession. It consists of a magnificent drop curtain, representing the Bay of Naples. At the right and in the foreground of the scene is a ruined arch covered with ivy, the whole being surrounded by a beautiful Etruscan border sixteen inches wide. The parlor scene is a representation of gorgeous panel work, and the flat is supplied with practical doors on either side which are beautiful columns with handsome arches extending above the doors and resting upon the pilasters. The street scene presents a brick residence and a garden in the foreground, while in the distance appear business houses, churches, residences, &c. In the wood scene is a heavy wood, with a beautiful lake in the perspective. The kitchen shows us a dilapidated room with rough plastering and a number of holes in the walls which have a natural appearance, and various articles of household use. At the sides of the drop curtains is more panel work, the entire curtain being surmounted with rich crimson and garnet drapery, giving a perfect finish. The drawing is on canvas fastened on the flats which are 10×16, sliding in grooves, and the wings are 4×10 in size. The painting is a great credit to the artist, and all pronounce Mr. Sosman a painter of ability.” I am going to pause here for comment; this is almost identical to what was initially used at the Tabor Opera House in Leadville, Colorado. It is even the exact same size of wings and shutters.
Between 1875 and 1876, Sosman met and partnered with Perry Landis, future co-founder of Sosman & Landis Scene Painting Studio. Both had served in the Union Army and then ventured west during the post-war years, with Sosman settling in Macomb, Illinois, and Landis settling in Fairfield, Iowa. Neither was immediately drawn to the theater, with each testing the waters of another profession. Sosman’s scenic art career did not even commence until 1873. He came to it quite late in his career, when he assisted T. B. Harrison, a Chicago-based scenic artist who was hired to paint scenery for the New Chandler’s Opera House in Macomb, Illinois. At the time, Sosman was twenty-eight years old. The majority of scenic artists began their apprenticeships at the age of sixteen.
Their probable meeting was in Fairfield, Iowa, when Sosman was painting the scenery for Semon’s Opera House, During this time, Landis returned to Fairfield after another extended stay in Denver, Colorado. On August 19, 1875, the “Fairfield Ledger” announced, “Perry Landis is with us again – and from Colorado” (page 5). By 1876. Sosman & Landis were traveling together, while making their permanent home in Fairfield. On June 11, 1876, the “Fairfield Ledger” announced, “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3). The two were remembered by Fairfield residents them long after they moved the Chicago in 1879.
Landis had previously lived in Fairfield before venturing further west to Colorado. On March 18, 1875, the “Fairfield Ledger” reported, “Perry Landis has been spending a few days with his many friends in Fairfield…Davey Beck leaves for Denver to-day in company with Perry Landis. He goes to remain some time” (page 5). Even after settling in Denver, Landis continued to update his friends and family about the western scenery and opportunities. He submitted articles to the “Fairfield Ledger,” occasionally working as a newspaper correspondent for various cities.
Meanwhile, Sosman worked as an itinerant scenic artist and began making a name for himself throughout the region. Years later, the town remembered their beginnings in Fairfield. On June 20, 1894, the “Fairfield Ledger” recalled the pair living in town, reporting, “Sosman & Landis, the scenic artist, both of whom formerly resided in this city, are the lessees and managers of the Masonic Temple Observatory and Roof Garden, Chicago. This twenty-one-story building is one of the wonders of the metropolis of the west, and its roof affords a view superior to that from any other point in the city. Messrs. Sosman & Landis have added an electric theater, similar to that presented at the World’s Fair, and have ready for reproduction many of the interesting sights of the great exposition. Their place is one of the attractions of the city.”
Their previous residency in Fairfield was again mentioned the following year to when a new theater was being planned in Washington City. On Jan. 2, 1895, the “Fairfield Ledger” reported, “Western capitalists are here to build a large and handsome theater at Washington City. Sosman & Landis of Chicago, both former residents of Fairfield, are among the projectors of the enterprise. These gentlemen are said to have the largest scene painting studio in the world…” (page 3).
In the beginning, Sosman & Landis accepted any project that came their way, crisscrossing the country from one city to another. By 1879, the two had secured enough funding to open a scenic studio in Chicago. They placed advertisements for mail-order scenery in newspapers across the country, while maintaining a permanent studio space. They also assembled crews to work in both Chicago, New York and many other cities.
Like Sosman, J. C. Blaine worked as a decorative painter and a stage carpenter. He traveled from town to town throughout the Midwest, completing a variety of projects. On July 5, 1883, the “Independence-Journal” of Ottawa, Kansas, mentioned Blaine’s ornamental work. The article reported, “Have you noticed the water color decoration in the parlors of the Centennial House? This work was done by J. C. Blaine. Notice it” (page 3). Blaine remained in the area and by 1907 was listed in the Painter and Paperhangers section of the Ottawa City Directory. At the time, his place of business was listed as 1212 E. 7th.
By the 1890s, Blaine represented the Sosman & Landis studio, working as both a scenic artist and stage carpenter for the firm. On October 9, 1891, the “Salina Weekly News” reported, “Scenery Here. The new scenery for the Salina Opera House is here. It is elegant in design and finish. Mr. J. C. Blaine of the house of Sosman & Landis is also here as stage carpenter and at work. He was given notice while at Sulphur Springs, Arkansas and came on immediately. The work will require one week to finish as the plans for carpenter work in the hanging did not come in time for Contractor Gilbert to complete before the arrival of Mr. Blain. The chairs are elegant and comfortable and are now being lined upon the floor in a large Semi-circle” (page 4).
I have uncovered very little about Blain’s personal history to date, other than that he moved west to California by 1910, where he continued to work as a painter in National City with James C. Blaine. It remains unclear whether James G. was a brother or son.” —
Here is the updated post about Joseph C. Blaine and his son James G. Blaine:
I am back from a two-month break after spraining both wrists on May 1, 2021. I panicked a bit, wondering if it were a career ending injury, so I took taking my sweet time recovering. Although I would like to think that I truly relaxed and enjoyed the break from constant research and writing, I really went a bit stir crazy. Yes, I still worked on projects, painted small things, traveled and carefully gardened, but my wrists just couldn’t handle the daily strained of typing and maneuvering a mouse. I am doing much better, but I am a returning to blog postings at a much slower pace.
I return to Sosman & Landis Scene Painting Studio staff biographies with employee No. 29 – John P. Toner.
Sosman & Landis Studio, c. 1910. From the Theatre Collection of Wendy Waszut-Barrett.
Toner worked as a scenic artist at Sosman & Landis around 1910. The Census that year listed Toner as a Chicago scenic artist. This places him in the right place at the right time. Last month, I even purchased a photograph of the studio building from 1910. That year, Toner was thirty-two years old and lodging at 2832 Indiana Avenue, just south of the Sosman & Landis studio. Other information in the 1910 census identified Toner’s birthplace as “Ire-England” in 1878. He emigrated to the US in 1889.
By 1928, Toner was mentioned fellow scenic artist Wat Williams, another former Sosman & Landis employee. Williams worked at Sosman & Landis between 1909-1916. In 1909, Thomas G. Moses wrote, “Wat Williams came into the studio and worked as my assistant. Pretty good, but very careless.” There is no indication as to when Toner was hired, or how long he worked alongside Williams in the studio. However, their employment at Sosman & Landis was mentioned many years later. Toner, like Williams, moved to New York in the 19-teens, where he continued to work as a scenic artist and became involved in the United Scenic Artists Association.
On March 1, 1928, “The Scenic Artist” published an article entitled “Wat Williams Speaking” (Vol. 1, No. 11, page 1). The newsletter was described as the “Official organ of the United Scenic Artists Association,” with the publication’s headquarters at 161 West 44th Street, New York City.
Below is Williams mention of Toner when he discussed an upcoming national conference in 1928. Here is the excerpt:
“My Dear Editor:
You are going on to the first coast to coast conference with Bro. Toner: John Toner and I used to work for the well-known Sosman & Landis of the City of Chicago where you will meet.”
Williams’ letter to the Editor continued, “You were telling me the other day of your experience in Chicago (in the day of the wooden sidewalk) and your experience as an impresario for real bottled beer. Beside the Chicago boys you will probably, I hope, have Truman Curtis, the president of the Los Angeles Local, as one of the delegates. Truman was my first art patron, having bought a couple of my studies when we were studying at ‘Smith’s Art Academy.’ Truman got me my first job in a scene painting place (don’t hold it against him) with Walter Burridge, then in Chicago. This goes back about a quarter of a century. At that time the urge to form some organization of the scene painter was dreamed of but that it should extend from coast to coast was not thought of. I should like you to bring attention to the fact preached to us by Walter Burridge that it is not simply a job of scenery; but that the main purpose of the artist in the theatre is a service problem; that of making the stage ensemble a work of art as truly as any picture of designs. The second thought would be to bring to the attention of the conference the desirability of establishing Examining Committees to stop the entry of people who will finally be a drag to the organization and themselves. These two problems are just as alive now as a quarter of a century ago.
Can I tack on a little about due collection? Nels Astner and myself are planning a drive to have our members see the desirability of paying their dues three months or more in advance instead of quarterly in arrears. It will not only lighten the burden of housekeeping but stop the damage that suspension brings to our members. On each month a third of our members are notified that they will be suspended if payment is not made at the end of the month. I believe that they will really see that the advance payment plan is desirable for all concerned.
I would like to make a personal appeal to our members to make their payments direct to the Financial Secretary of mail it, addressed to him. The habit of giving it to anyone else, especially without forwarding book at the same time, may cause everyone connected with it loss of money as well as extra work for those, already busy up to their neck.
We are making no new laws – simply enforcing those now on the books. Laws are not flexible or open to interpretation to suit individual cases – by officers less than anyone. Individual cases needing special construction will be laid before the Executive Board and a member’s chance for serious and just consideration of his appeal will not be depending on his nearness to the local. If you don’t advise us, we do not know your troubles.”
A follow-up article was published in the “The Scenic Artist” that April (No. 12, page 1), and was entitled “The Chicago Conference.” It reported, “The report of the Chicago and New York delegates to the Scenic Artists Conference in Chicago held at Chicago on the last three days of last month has been read to their several members and approved by them.” Toner was a New York delegate at the time.
The article continued, “They recommendations are clear, concise and easy to understand.
It may be hoped that every scenic artist regardless of what special line he follows, will see the advantage of a uniform basis upon which we as a craft may sell our services.
By a commonly accepted definition of the term stock, production and presentation, we shall without causing the slightest flurry, neither in our own of the producer’s ranks, have arrived at a definite way of knowing how to classify what a member is doing. Not what he must do – or must not do; but simply made it possible to really know whether work – of any sort – is being done according to Union rules or not.
Productions must of course be done under rules laid down for a Studio – let the Studio be permanent or temporary – old established or primitive; no one presumes to dictate as to the shape or nature of the building. The rules concerning Studios are as before as regards to charge-man, artist and helpers. Scenery traveling from place to place is of course a production: – or else what is?
Members running Studios shall not contract for Stock in such places as our rules clearly state that an artist shall be employed on contract.
Stock, as far as our craft is concerned, is scenery built and painted for a theatre to which a member is under contract.
The salary of the artist is stipulated with that specific clause being clearly understood.
As before, an artist under stock contract shall – by organization – be required to limit his work to the theatre he is employed in, and shall not engage in outside contracting or production work during the time of such employment.
Presentations may be done by one artist if necessary, provided it is only for one house.
A member may design and contract for as many presentation houses as he can handle provided his work is carried on according to the rules of the association. A rising scale of pay based on equity and economy was agreed on and a field very apt to run wild, and for that matter pretty difficult to control properly, has been defined.
Every angle of the craft was given close attention and where necessary thoroughly discussed. The object of the conference was not to inject a lot of new kinks, but for the explicit purpose of arriving at a uniform wording and interpretation of all rules, by-laws, contracts etc. thereby making the first great step toward a unification of the entire craft. The ambition of single members to rise and soar is fine; but it should have a proper take-off. Too often the member who throws his lot with the side to whom he has to look for monetary returns makes a fatal mistake. Agreed that he has the right to conduct business, even to destroy himself; but he has no right to jeopardize the livelihood of fellow members. It would be better all-around if he should lend all his strength to his organization and help to convince purchasers of our work that the best way is the cheapest after all.
There is no call for individual members of our craft to make frantic efforts to cheapen either our standards or our product. The cheapening of scenic art may be safely left to those who are not members of our craft.
The rules are there. The rules are simple; it only remains with the members to take advantage of them.”
In 1928, Toner was listed as one of the New York delegates with other noted individuals including: Chas. E. Lessing, NY; Orville Lyman; Chicago, Peter Donegan, Chicago; Herman Bartels, Chicago; and G. VC. Fisher, New York.
Tracking down any information pertaining to Toner has been quite a challenge, despite mt break. The problem is that there are too many John Toner’s who worked as painters, whether they were in the housing or automotive industries. There are just too many likely candidates for me to narrow my focus down to one individual. If I am ever able to refine my search, I will update this post.
I am still on break from daily posts, as my wrists will not allow me any extended periods of typing or surfing the internet. I have posted a few pictures of my most recent adventures to my Facebook Group “Dry Pigment,” but with minimal text. It may be another month before I return to any daily blogging.
That being said, last week I visited the Omaha Scottish Rite (Nebraska, USA) to evaluate their scenery collection. In 1996, the Valley of Omaha purchased the used scenery collection from the Scottish Rite Theatre in Kansas City, Kansas. It replaced their original scenery collection, manufactured by the Sosman & Landis Scene Painting Studio of Chicago between 1914 and 1915.
The current scenery used at the Omaha Scottish Rite was painted by Maj. Don Carlos DuBois (1886-1964), representing the Great Western Stage Equipment Co. Collection of Kansas City, Missouri. Many of the drops are signed and dated by DuBois, c. 1951-1953. It is truly a lovely collection.
Some of DuBois’ original designs for Masonic scenes are part of the Great Western Stage Equipment Co. Collection in the Performing Arts Archives at the University of Minnesota. Over thirty years ago I processed the collection, and in 1999 helped digitize the scenery collections and get them online. Here is the link for the scenery database:
Although I have written extensively about DuBois (born Don Carlos Boyes) in the past, it is important to note that he grew up in Seward, Nebraska. It was not until 1900 that DuBois moved to Chicago and became a scenic artist. It is remarkable that his scenic art is now featured in Omaha, only an hour’s drive from where he grew up.
It may be a while before I post again. Hopefully, I will be back by the end of June or mid-July. Have a wonderful summer!
Scenery painted by Maj. Don Carlos DuBois in 1952, now used at the Omaha Scottish Rite.DuBois design for the Scottish Rite scene now at the Omaha Scottish Rite.Scenery painted by Maj. Don Carlos DuBois in 1952, now used at the Omaha Scottish Rite.DuBois signature and date on this scene at the Omaha Scottish Rite.Painted detail from the leg drop painted by DuBois in 1952.
