Drypigment.net

Copyright © 2020 by Wendy Waszut-Barrett

I am ending 2020 with a winter scene. It seems appropriate for the winter solstice tonight, despite the fact that there is no snow on the ground, and I live in Minnesota! I will resume posting after the upcoming presidential inauguration, allowing myself a day or two of celebratory recovery.

In September 2020, I led a group of volunteers at the Tabor Opera House to document nineteenth-century wings, shutters, borders and set pieces in the attic. After my visit, I began examining each piece in detail, creating condition reports, historical analyses, replacement appraisals, and a collections care management document. There is scenery spanning from 1879 to 1902 at the Tabor Opera House, a remarkable scope that shows the transition from wing-and-shutter scenery to fly drops.

On site, there was one lone shutter that depicted a snowy landscape. It was all that remained of a pair, with a winter scene painted on the back of an original wood shutter constructed for the 1879 stage. When the shutters were repainted in 1888, the fabric was replaced on the second shutter, possibly the result of irreparable damage. This is when the winter scene lost its mate.

The pine frame was originally covered with standard cotton sheeting manufactured at Boott Mills in Lowell, Massachusetts. When the frame was recovered, the new fabric was standard drillings from Stark Mills in Manchester, New Hampshire.

Happy Holidays and Happy New Year! See you in 2021!

Copyright © 2020 by Wendy Waszut-Barrett

In 1922 Thomas G. Moses wrote, “Henry Sieker passed away on the 7^th, all very sudden.  My 66^th birthday came and went and I don’t know as I had many bad effects from the day.”

Henry Sieker was a Chicago painter and one-time Sosman & Landis employee. This is one of those instances where Moses brought to light an individual who otherwise may have remained unknown, a individual lost to time and theatre history.  Not everyone makes a name for themselves in the theater. Sieker is an example of a painter who came and went without any fanfare.

Henry Ernest Sieker was born on Feb. 10, 1886, in Cleveland, Ohio. His parents were Frank (Franz) Sieker (1849-1890) and Catherine Kemper (1853-1901). The couple celebrated the birth of seven children, with four growing to adulthood.  The 1880 Census listed that Henry was living at home with his three siblings – Fred (1876), August (1882), and Martin (1885). By 1900, their father passed away and all four boys were living with their mother at 29 Lufkin Street in Cleveland, Ohio. At the time Henry was working as a messenger boy. Henry and Martin remained close throughout the duration of their lives, eventually moving to Chicago and living together.

Henry married Nattley C. Buselski (b. 1886), the daughter of Mathias and Johanna Buselski.

Henry and Nattley celebrated the birth of their only daughter in 1909, Irene Florence. The 1910 US Federal Census listed Siecker as a scenic artist in the scenic studio profession. At the time, he was still living with his brother, Martin who worked as a candy maker in a candy factory.

Sieker’s draft registration card provides a little information about his physical appearance. He was tall, medium build with blue eyes and blond hair. The registration also listed him as living at 4016 W. 21^st Chicago and working as a sign painter at Sosman & Landis.

Eight years later, the 1920 census still listed Sieker as a sign painter, working in the Factory industry and living at 4016 West 21^st Street. He was still living with his brother, wife and daughter.

Sieker passed at the age of 36 on July 7, 1922. At the time, he was living at 4023 W 21 St., just up the street from where he lived in 1920; an unknown change of circumstances perhaps. Sieker was buried on July 10, 1922 at Elmwood Cemetery and Mausoleum in River Grove, Illinois. I not yet located any details or cause of death.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1922 Thomas G. Moses wrote, “Started on a bunch of Masonic models, and it will take some time to do them.  Went to Joplin, Mo., after a good contract.  Was too high.” A similar thing would  happen only a few months later, with Moses writing, “Made several trips to Davenport in hopes of getting the big contract of about $16,000.00, but we were too high. 

Sosman & Landis was nearing the end of its existence at the same time many other studios were getting their start.  Sosman & Landis lost the Joplin job to another Chicago firm – The Fabric  Studio. The Fabric Studio appeared on the scene as abruptly as it disappeared a few years later. However, between 1922 and 1923 the studio showed much promise. The same year that they landed the Joplin Scottish Rite project, they delivered some very impressive scenery to the Orpheum Theatre in Wichita, Kansas. Interestingly, by 1923, Thomas G. Moses and Fred R. Megan rented the Fabric Studios’ space as they waited to purchase the Sosman & Landis name; waiting for the firm to liquidate all their assets.

The Fabric Studio scenery painted for the Joplin Scottish Rite is colorful, impressive, and indicative of a changing aesthetic. I had an opportunity to visit the Joplin Scottish Rite and document the historic scenery collection during the summer of 2018 and document the scenery painted at the Fabric Studios. Here is link to my post about that visit: https://drypigment.net2018/07/03/travels-of-a-scenic-artist-and-scholar-the-joplin-scottish-rite-july-2/

There was a studio stamp on many drops that included the address 117 N. State, 4th floor, Chicago, Illinois. At this time, there were three main individuals running The Fabric Studio, artistic director P T. Blackburn and stage carpenter J. A. Bannon. As most young studios, the men continued to work independently while getting the studio up and running. In the end, the Joplin Scottish Rite may be the only artistic legacy left of this short-lived studio.

The earliest mention of the Fabric Studio that I have located to date is from the summer of 1921. The company placed a want ad in the “Chicago Tribune,” advertising for girls to help in their sewing room (“Chicago Tribune,” 27 August 1921, page 14). The earliest work credited to the new form was for Princess Minstrel Misses. Advertisements placed in “The Richmond Item” announced, “Seven young ladies in ‘a Fanfare of Joy, Song and Dance and Music’ with Cecil Jefferson. A miniature minstrel production offered exclusively by seven talented girls with an elaborate stage setting. Hear these clever girls in the latest songs and jokes. Costumes by Hazel Rene, Chicago. Scenery by The Fabric Studio, Chicago. 20 minutes of Real Entertainment”  (8 Dec 1921, page 5).

In 1922, The Fabric Studio of Chicago was competing with the Kansas City Scenic Co. for the contract to paint and install a new front curtain and scenery for the Memorial Auditorium in Wellington, Kansas. W. S. Mayer was the salesman for The Fabric Studio of Chicago (“Wellington Daily News,” 25 August 1922, page 1). That same year, The Fabric Studio also secured a substantial contract for Wichita’s Orpheum Theatre. The “Wichita Eagle” reported the Fabric Studio’s scenery included the original asbestos curtain depicting a gold gauze curtain with an exterior garden scene, a Spanish market scene; a silk velour for the valance; a grand drapery; a silver gauze tableaux curtain; a picture sheet; “two exterior oleos and drops;” a complete conservatory set; and a complete Gothic set (3 September 1922, page 48).

The chief scenic artist associated with the Fabric Studios at this time was P. T. Blackburn. He is quite an interesting individual. Blackburn was the head of the artistic staff for several stock companies over the years, including the Grand Players from Davenport, Iowa. Max Schroeder was another scenic artist who represented painted for the firm 1922, specializing in landscapes. Blackburn and Schroeder greatly contributed the studio’s colorful aesthetic. The firm’s head installation expert was J. A. Bannon, an older gentleman with extensive experience with stage machinery and the installation of stage systems.

Blackburn was credited as specializing in fine plushes, satins, and velours, such as the gold gauze front curtain and the silver gauze tableaux curtain for the Orpheum. Of the gold curtain delivered by the Fabric studio. The “Wichita Daily Eagle,” reported, “Scenery in the Orpheum theater ranks with that any vaudeville theater in the entire country, according to J. A. Bannon, who came to Wichita from Chicago, to install the scenery for the Fabric Studio, the makers. Bannon should be an authority since he is an old timer in the show business and has installed scenery in theaters in nearly every city in the United States. Bannon is very enthusiastic about the gold gauze curtain which he says is an unusually fine production. It portrays an exterior garden scene and was painted by Max Schroeder. A wonderful work has been accomplished in the floor perspective of the scene in the curtain. The perspective is only twenty-five inches in extent but gives the floor appearance of being twenty-five feet.” Of Bannon, the article reported, “Bannon started ‘trouping’ as a property man with Karafe’s Water Queen in the eighties. He soon became stage carpenter and traveled as such for years, visiting Wichita many times.”

In 1923, the “Quad City Times” include a portrait of Blackburn and reported, “Mr. Blackburn, scenery artist at the Grand theater is a star never seen by the audience. All of the scenery is painted by him. ‘It is an endless job – this business of being a  scenery painter of a stock company – but I like it anyway,’ opined Mr. Blackburn yesterday, He had been with the Grand company for more than a year” (18 March 1923, page 21). In 1923, Blackburn was also producing scenery for productions, such as “Nice People” in 1923 (The Daily Times, Davenport, Iowa, 27 Jan 1923, page 8). Blackburn was mentioned as a scenic artist when he married  in 1923 (The Daily Ties, 21 April 1923, page 7). The article announced, “Miss Erma Hermiston, youngest daughter of Mrs. Fred Hanson of DeWitt, was married to P. T. Blackburn, scenic artist for the Grand Players, now appearing at English’s Opera house, Indianapolis. Mr. Blackburn has for over a year and a half been artist for the company during the stay at the Grand in Davenport. Both he and his bride, who had made her home in this city, are very well known. The wedding took place at the First Presbyterian church, Rev. Milner officiating.” The couple was listed in the Colorado Divorce index on Sept 3, 1930.

By 1931, Blackburn was credited with the settings for Loew’s and Paramount’s “Lysistrata” ( “Los Angeles Record,” 28 Dec 1931, page 8). He also did the sets for “Shanghai Gesture” (Los Angeles Evening Express, 1 Sept 1931, page 10). In 1932 he was noted as a “well known Hollywood stage designer and artist,” associated with the comedy “Just Married”  (Honolulu Star 7 July 1932, page 8). By 1949, Blackburn was the head artist for Paramount Studios and a weekend resident of the San Jacinto mountain resort area (“The Desert Sun,” Palm Springs, California, 17 May 1949, page 4). In addition to scenic art, Blackburn and his department also developed new stage equipment and curtain tracks for scenery painted by Paramount artists.

To be continued…

Copyright © 2020 by Wendy Rae Waszut-Barrett

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

Copyright © 2020 by Wendy Waszut-Barrett

During the first four months of 1922, Thomas G. Moses worked on scenery projects in Tacoma, Seattle, San Francisco and Oakland. He then headed to Denver, Colorado, writing, “On arriving at Denver, we went to the Oxford and secured a fine room.  Met the Scottish Rite Bodies and Mr. Stanley Warner, regarding their new Temple, then started for Kansas City where we stopped for only a day.  Got a line on what was wanted, then started for home.  We arrived home May 14th after an absence of five months and a fine old trip.”

Moses was referring to Stanley C. Warner, a well-known Denver Mason and attorney who became the Sovereign Grand Inspector General (SGIG) of Colorado.

Stanley Clark Warner was the son of Sidney Warner and Minerva Jane Clark, born in Wilton, Ontario, Canada, in 1863. In Canada, Warner established himself as an attorney after graduating from Victoria College in 1884 and being admitted to Canadian Bar in May 1887. By the fall of 1887 he married Mary Ella Smith (1863-1935) in Utica, New York, and the couple settled in Napanee, Ontario. In 1903 the Warners moved to Denver where Stanley became extremely active in both Public Service and Freemasonry. Warner was a partner in the firm Herrington, Warner & Grange before becoming a judge. From 1923 to 1929, he worked as the Public Administrator for Denver and by 1929 was a Colorado Agent of the Corporation Trust Co. of New York.

In regard to Freemasonry, Warner belonged to the Scottish Rite, York Rite and Ancient Arabic Order of the Nobles of the Mystic Shrine. Warner was even the Grand Commander of the Knights Templars.

Interestingly, in 1926, Warner delivered the “Gettysburg Address” in honor of Lincolns birthday for radio. It was broadcast from the Scottish Rite cathedral in Denver, presented by Colorado Consistory No. 1, Ancient and Accepted Scottish Rite of Freemasonry (“Aspen Times,” 11 Feb 1926, page 2). When Moses met with Wagner and the Scottish Rite Bodies in Denver during 1922, it was to discuss scenery for this building.

In 1910, Sosman & Landis delivered scenery to the Denver Scottish Rite, so this project should have been pretty simple to land. Unfortunately, times had changed. Scenery delivered to Scottish Rite theaters became more complicated by the 1920s, as the Mason’s attitude toward purchasing scenery began to shift.  Before WWI, Sosman & Landis worked in conjunction with M.C. Lilley, a major fraternal supplier. Working together, they delivered entire theater packages to new buildings. This meant an almost guaranteed sale when they began to design the scenery collection. By the 1920s, Scottish Rite scenery projects became more  independent of the entire theater project, simply representing one element and going to the lowest bidder. This changed the success rate for Sosman & Landis when going after a project.

Sosman & Landis continued their standard practice to secure a contract; meeting with a client, creating designs and then writing contracts for the desired work.  The problem is that they invested too much time in the preliminary process; time that their competitors did not necessarily invest in. In short, competitors let Sosman & Landis do all the upfront work, and then swept in to under bid it. Furthermore, the Masonic design process was extended, the scope for massive complexes taking years to complete. A project began in 1922 may not come to fruition until 1925, 1926 or 1927.

In the end, Sosman & Landis invested too much time into lost work.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1922 Thomas G. Moses was painting scenery for the Tacoma Scottish Rite.  During this time, he wrote, “I had a lot of extras on the job as well in the town.  I did a complete set for the Elks club, and some window displays.”  Everything was painted at the Tacoma Theatre.

By 1922, the Tacoma Elks Temple was six years old; time for some additional stage settings, as was common for many theaters. The building opened Feb. 19, 1916, to great fanfare and a very large membership (The Tacoma Times, page 1).

The Elks Temple was designed by Ecole des Beaux Arts graduate, É. Frère Champney, known for his world fair building designs at the Pan-American Exposition in Buffalo (1901), St. Louis Exposition (1904) and Lewis and Clark Exposition in Portland (1905). Before moving to Seattle in 1907, he was well-known for his work and connected to a firm in Buffalo, New York. Much has been written about the well-known architect and the Tacoma Elks, but very little has been written about the theater. To date, I have located no images of the 1916 stage, original stock scenery collection or 1922 scenery painted by Moses. Other than Moses’ own record, I have nothing to add about the technical theatre elements.  I am continually surprised that after incredible effort and expense to construct these massive edifices so much was left undocumented. This is common for many theaters in the 1920s. Unlike their predecessors, many 1920s newspaper accounts fail to include extensive building descriptions that focus on theaters and stage details, as well as the contributing artisans.

The Tacoma Elks Temple, like many fraternal buildings, had healthy membership levels in the early twentieth century. Unfortunately, the peak membership numbers that so many groups experienced in the 1920s continued to decline throughout the remainder of the century. At one time Tacoma boasted the largest Elk membership in the country. Over time, however, the organization could not overcome a series of obstacles and eventually vacated the building.

The Elks Temple made the news again in 2019 when the dilapidated building was purchased by Brian McMenamins, owner of McMenamins restaurant and hotel chain. By November 2019, the renovated entertainment complex and hotel was featured on several local television stations, recounting the renovation story. McMenamins invested approximately $30 million dollars to transform the structure into the McMenamin Elks Temple hotel, restaurant and event space.

I have to wonder when the scenery painted by Moses was tossed out; if it was decades ago, or during the renovation. Although much has been written about McMenamins and the history of the Tacoma Elks, the history of the stage is nonexistent.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

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

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…