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Copyright © 2024 by Wendy Waszut-Barrett

The oldest scenery collection at the Theatre Museum of Repertoire Americana was painted by Harry Dressel in 1875.

Two shutter covers painted by Harry Dressel in 1875 for Steyer’s Opera House, Decorah, Iowa. They are now part of the Harry Dressel Collection at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SR shutter cover, painted by Harry Dressel in 1875.

I examined two cottage shutter covers during my visit last month. They were once part of a stock scenery collection at Steyer’s Opera House in Decorah, Iowa. The scenery was donated through the efforts of Dr. George D. Glenn and Richard Poole, authors of “The Opera Houses of Iowa.” Theatre Museum records indicate that some of the Steyer’s Opera House scenery was placed on display in 2001. When I visited the museum in 2017, the cottage shutters were still on display.

SL shutter cover on display at the Theatre Museum in 2017.

In 1989, Glenn even made a 12 ½ minute documentary about the extant scenery, lighting, and stage machinery, entitled “Steyer’s Opera House.” Here is the YouTube link to the 1989 video: https://youtu.be/r_2l6pGmp3A?si=31RV5ShRr2lSka_w

In 1989 the third-floor opera house was an 1875 time-capsule of stage technology. At the time, it was possibly the oldest extant stage boasting an original 1875 scenery and stage machinery installation in North America.

Image from George Glenn’s 1989 movie that shows the state of Steyer’s Opera House when he first visited the stage.

As is the case with many historic stages, new building owners, investors, and other stakeholders fail to understand the significance of what they have, especially stage artifacts. Fortunately, some of the scenes were transported to the Theatre Museum.

I know of only one older scenic piece in North America – a front curtain painted by Russell Smith for the Thalian Hall in Wilmington, North Carolina (1858).

1858 Front curtain by Russell Smith on display in the Thalian Hall lobby in Wilmington, North Carolina in 2019.

Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.

Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.

To my knowledge, the Steyer’s Opera House contained the oldest collection of stage scenery, machinery, lighting equipment, “as delivered” until the 21^st century.  It still signifies some of the the oldest examples of signed American scenic art.

Signature on the front of Steyer’s Opera House SR Cottage shutter.

The second oldest examples are 1888 wing-and-shutter scenery signed by Frank Cox for the Tabor Opera House in Leadville, Colorado. Amazingly, Dressel signed the front of the shutters. Cox signed the back.

Frank Cox signature. Tree profile at the Tabor Opera House, Leadville, Colorado.

The Theatre Museum’s Dressel collection signifies the oldest extant example of stock scenery delivered to an American opera house. In addition to age, the creator of Steyer’s Opera House scenery was internationally recognized as an extremely skilled scenic artist. Dressel’s scenic art made news from Toronto to New Orleans in the nineteenth century.

Here is the tale of Henry “Harry” Dressel.

Henry Dressel was the fifth child born to F. Ludwig “Louis” Dressel (1817-) and Sophie Schmidt (1820-1899) in Hanover, Germany. In 1858, the Dressel family boarded a ship in Bremen and sailed for America. On Oct. 22, 1858, they arrived in Philadelphia aboard the Brig Amazone. The ship’s manifest listing Ludwig Dressel (40 yrs. cooper), Sophie (38 yrs.), Marie (15 yrs.), Christian (13 yrs.), George (9 yrs.), William (7 ½ yrs.), Henry (6 yrs.), Louise (5 yrs.), and Adolph (3 mths.).

Ship’s manifest with the Dressel family’s arrival in Philadelphia. Oct. 22, 1858.

The family soon settled in Chicago where Louis Dressel listed his established trade as cooper in the City Directory. Although the family initially lived in a boarding house on Kinzie, they soon secured permanent lodging at 227 N. Franklin.  Dressel transitioned from cooper to a rectifier for Theodore Kraefft. Kraefft who not only sold wines and liquors (77 S. Water St.) but also operated a distillery (329 N. Wells St.). Dressel remained with the firm for some time; accepting whatever job came his way, continuing with the firm as it transitioned from Kraefft & Co. to Kraefft, Roelle & Co.

In 1870, the Dressel family were still living at their home on N. Franklin. However, Louis and William were now operating a retail grocery store, Dressel & Son. Meanwhile, Harry Dressel was listed as a fresco painter, boarding at 298 N. Franklin.

While examining the 1870 Census report another name caught me eye – Fest. Living next door to 18 yrs. old Harry was the 19 yrs. old painter Oscar Fest. Fest was only a few months older than Dressel, having been born on Aug. 10, 1852, in Breslau, Germany. Fest and his parents had emigrated in 1853, five years before the Dressels.

In 1870, Fest was also living with his parents on N. Franklin. Both Harry Dressel and Oscar Fest started as decorative painters and later each became incredibly well-known scenic artists; Dressel in New Orleans and Fest in San Francisco. Both of their fathers had worked as coopers. It would have been quite unusual if the two families were not close. It would be uncommon for either Fest or Dressel to have apprenticed as painters after the age of 16. This means that their entrance into the painting profession occurred about 1867. Fest is even listed in the 1867 Chicago Directory a painter.

Both young men may have begun their artistic careers with Robert W. Hanington. Hanington was a wire shade and decorative artist who lived just up the street at 296 N. Franklin. Again, the first listing for Dressel as a fresco painter lists his residence as 298 N. Franklin.

North Franklin street was destroyed by the great fire of 1871. The Dressel family immediately rebuilt their home and continued to live in the area. After all, both their home and grocery business had been in North Franklin when flames swept through in 1871.

Just before the great Chicago Fire of 1871, Dressel began working as a scenic artist for the Globe Theater. Although he was listed in the 1872 Chicago Directory as a fresco painter, he was also listed as scenic artist for Chicago’s Globe Theatre that year.

His link to the Globe was advertised during the tour of Alderson’s Panorama that summer. Newspaper advertisements for the Chicago Fire Panorama listed four contributing artists for the 3,700 sq. ft. painting: one designer and three Chicago-based scenic artists:

Henry Cross of the Academy of Design

J. Howard Rogers, scenic artist of McVicker’s Theatre

Henry C. Tryon, scenic artist of Wood’s Museum

Henry Dressel, scenic artist of the Globe Theatre

I believe that Dressel first worked as an assistant to Rogers and Tryon at the Globe Theater when it opened in 1870. The Globe Theatre was initially referred to as the West Side Theatre, with Allen being the first proprietor and lessee of the place (The Chicago Evening Mail 31 Oct. 1870, p. 4). The great fire did not destroy the Globe Theatre, although it came close; crossing the river just a few blocks south. Despite many scenic artist’s losing their homes and employment, those at the Globe were fortunate. It is very likely that the Chicago Fire panorama was painted by Rogers, Tryon, and Dressel at the Globe Theatre.

Map showing the Globe Theatre in relation to the river and burned district.

On Nov. 21, 1870, the Chicago Tribune advertised the opening of “Allen’s Globe Theatre, Des Plaines Street, West side, between Washington and Madison Streets” (p. 4). The announcement credited the Globe’s new scenery and drop curtain to Messrs. James Howard Rogers, John M. Kauffman, and Henry C. Tryon. Kaufmann relocated to Cincinnati by 1874, where he continued working as a scenic artist at local theaters for the remainder of the 19^th century.

Portrait of Henry C. Tryon in 1886.

Of this grouping, Roger’s was the premiere artist of the group, with his scenic art solely mentioned in many articles. For example. On Nov. 22, 1870, the Chicago Tribune described, “The decorations of the auditorium are simple, but in great good taste, and the scenic artist, Mr. James Howard Rogers, has put forth his entire artistic skill in getting up the scenes, all of which are of real excellence. In the drop curtain Mr. Rogers has boldly departed from the eternal Lake of Como with its dreadfully Italian sky, etc.; and has drawn his inspiration from home. The picture represents the progress of civilization. It is a beautiful Western scene, composed of lake and mountains, a railroad train – the emblem of advancing civilization – crossing a bridge, and away to the westward, the Indian, with his bow and arrows, receding before it, and following his own setting sun. At the front of the curtain appears the inscription, “Westward the course of empire takes its flight” (p. 4). This article made it seem that Rogers painted everything by himself. Rogers was living in the city, however, as he was listed in the 1870 Chicago Directory: “Howard Rogers, scene painter, r. 34 Price pl.” The listing forgot to include the “J” in front of Howard Rogers.

Rogers maintained a close connection with the Globe, as his wife worked there in 1871. On Feb. 17, 1871, The Chicago Evening Mail announced, “Sick – Mrs. J. Howard Rogers, of Allen’s Globe Theatre, has for the last few days been extremely ill. Until yesterday, it was feared that she would not recover. She is better today” (p. 4).

It is important to remember that scenic art assistants were seldom credited in these theatrical endeavors.   When both Tryon and Kauffman were credited, it was as legitimate contributors, not as assistants. Other articles solely credit Rogers as he boasted the biggest reputation at the time. Pot boys or scenic art assistants were never mentioned in metropolitan news.

D. R. Allen’s management of the Globe Theatre was short-lived, ending early in 1871. There were a series of mechanics’ liens against the Globe property, with Col. J. H. Wood listed as proprietor in 1872. On January 25, 1872, the Chicago Tribune even referred to the venue was called Wood’s Globe Theatre, after Colonel Wood’s Museum Company at the Globe (p. 4).

Rogers, Tryon, and Dressel painted Alderson’s Great Panorama of the Chicago fire early in 1872 so it could tour that summer. They worked from primary sketches by Academy of Design instructor, Henry C. Cross.

Chicago before the fire. Link to image: https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:1871_Chicago_view_before_the_Great_Conflagration.jpg

Photographs by George N. Barnard after the conflagration. https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:Attributed_to_George_N._Barnard_-_Untitled_(Chicago_after_the_Chicago_Fire)_-_Google_Art_Project.jpg

Their work immediately toured the country, accompanied with musical performances and descriptive recitations. By late July the panorama was exhibited at Piatt’s Music Hall in San Francisco. Several advertisements for the panorama were placed in Figaro. This newsletter referred to itself as “the organ of amusement….circulates in….All the Theatres and is Circulated Every Day in the Year Generally Throughout the City and on the Boats and Cars.” Figaro stated that its newsletter was “published every Day in the Year by J. P. Bogardus at 22 Merchant and 535 Washington Streets, Below Montgomery, San Francisco.”

Advertisement for Alderson’s Panorama in Figaro, 1871.

Another advertisement for Alderson’s Panorama in Figaro, 1871.

Although the digital scan of newsletter is quite poor, Figaro is a wealth of information about theatrical activities in San Francisco during the second half of 1872. Here is a link to those who may be interested: https://archive.org/stream/figarojulydec18700unse/figarojulydec18700unse_djvu.txt

The same advertisement was placed in Figaro announcements for several days. The article consistently reported,  

“Panorama of the Great Chicago Fire.

Alderson’s Panorama of the Great Chicago Fire has arrived and will be exhibited in Piatt’s Hall on Friday evening next. This painting covers over thirty-seven hundred feet of canvas was executed from actuals views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry C. Tryon, scenic artist of Wood’s Museum; Henry Dreissel [sic.], scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House. The mechanical appointments are by the celebrated John Faust of Dearborn Theater and Opera House, all famous artists in their line. The panorama represents Chicago before the fire, the city in flames, and afterwards the ruins. Other sections present views of the old cemetery, with its scenes of suffering representations of the public buildings, printing offices, and water works of prominent places. Succeeding these, are views of the ruins of the churches, the exhibition closing with the ruins of the Masonic Temple by moonlight. A lady of Chicago will deliver a descriptive lecture, interspersed with appropriate ballads, anecdotes, and incidents. This approaches the anniversary of this dreadful event which took place October 8^th and 9^th, recalls the horrifying scenes to memory, and these will be found faithfully depicted in the great panorama. The process of admission have been fixed at the low rates of 50 cents and 25 cents, and on Sunday afternoon a matinee will be given at half prices.” (Daily Figaro, San Francisco, 31 July 1872, page 1).  Some of the advertisements included a listing of various scenes:

“Chicago before the Fire; The Conflagration; Thousands of Houses in Flames; The Scenes of the Old Cemetery; The Ruins; Views of Principal Streets; Public Buildings, Printing Offices, etc.; Ruins of the Churches; Something About Mrs. O’Leary’s Cow; Music, Songs, Stories, Recitations; and Descriptive Lecture and Dramatic Ballad by a Lady of Chicago

Chicago” (Figaro 31 July 1872, p. 1).

One of many articles in Figaro describing the panorama in 1871.

Alderson’s panorama was one of many panorama’s depicting the tragedy that toured in the country at the time. Frank D. Skiff formed, Skiff & Co., to create another panorama of the Chicago Fire. The work was credited as “the work of scenic artist Frank D. Skiff, the well-known scenic artist” (Chicago Tribune 17 Dec 1871, p. 7).

Dressel’s early scenic art career mimics that of many during the early 1870s. Aspiring artists secured work as decorative painters. This employment brought them into director contact with other decorative artists who worked as scenic artists at theaters. In most cases, scenic artists were paid a higher salary, but the work was more sporadic.

Portrait of P. M. Almini

One example of an artist who bridged the decorative and scenic art worlds was Louis Malmsha. Malmsha not only worked for the decorative firm of Jevne & Almini (later known as P. M. Almini & Co.), but also worked at McVicker’s Theatre. Malmsha is the common thread between several scenic artists working in Chicago during the 1870s. For example, both Rogers and Tryon worked with Malmsha at McVicker’s in 1871. This is the year after Rogers and Tryon painted scenery for the Allen’s Globe Theater.

At this time, if a young artist showed promise, he was immediately brought into the theatrical fold. The demand for scenic art was greater than the supply of scenic artists.

Portrait of Thomas G. Moses in 1886.

Thomas G. Moses is another example of a young man who worked as Malmsha’s assistant in 1873, both at Almini’s and McVicker’s in 1873. Both Moses and Tryon ended up as Sosman & Landis Scenic Studio employees by the early 1880s.

When considering Dressel’s entry into the scenic art profession, his initial training was in Chicago before the Great Fire. The 1871 tragedy meant that many scenic artists left the city, as they were left without work. Many, such as Malmsha relocated to other metropolitan areas. There was a waiting period before new stages were constructed for popular entertainment. Others produced painted spectacles that toured, such as the Chicago Fire panoramas. Rogers, Tryon, and Dressel had worked together in the past, and therefore teamed up to paint Cross’ design.

Dressel was touring with the Tannehill Company at the beginning of 1872. He was listed as part of the company, as well at the scenic artist.

I need to provide some context for Mr. and Mrs. F. A. Tannehill concerning the time when Dressel joined their troupe. In 1872, they sporadically performed on stages along the eastern seaboard. Their young daughter, Birdie, even joined them on some occasions. On June 13, 1872, The Valley Virginian of Staunton, Virginia, reported:

“AMUSEMENTS. Mr. and Mrs. F. A. Tannehill, assisted by their infant daughter, “Birdie,” only five years old, will give one of their chaste, beautiful and intellectual PARLOR ENTERTAINMENTS, at the Town Hall, on Tuesday evening, June 18^th. They are well and favourably known and remembered by our citizens, as the leading members of the ‘Old Reliable Company’ when here last Winter. Those who desire to witness a legitimate performance, will be more compensated by attending (p. 3).

Birdie passed away in the spring of 1873.

On March 11, 1873, the “Deaths” section of the Staunton Spectator announced, “At 125, Simcoe Street, Toronto, Canada, on Monday, March 3^rd, little Birdie, daughter of Mr. and Mrs. F. A. Tannehill, aged 5 years and 6 months.

Farewell parents, lay me gently

In my little narrow bed.

Think of God who gave and took me;

Now I slumber with the dead,

F. S. M.” (p. 3).

Birdie died from Typhoid Fever in Toronto.

Less than a year later, tragedy struck again in Toronto. This is how I connected scenic artist Harry Dressel with the Tannehill company.

An announcement in The Hamilton Spectator on Feb. 8, 1874, announced:

“FIRE! FIRE! FIRE!

In consequence of the Royal Lyceum, Toronto, burning down, the Company will play a short season at St. James Hall, commencing Monday, Feb 9. The Troupe consisted of the following first-class Artists:

F. A. Tannehill, Manager, Chas. Webster, Wm. Fuller, Wm. Ford, Dick Fowler, Nellie Tannehill, Nellie Stanwood, Mrs. Bradshaw, H. B. Bell, Burton Adams, J. R. Masters, Dick Featherstone, Harry Booth, Harry Dressel, Virginia Buchanan.

Harry Dressel was also listed as scenic artist, with W. Fordham as stage conductor.

The following pieces will be put on stage with new scenery, properties and machinery:

Ticket of Leave Man

Streets of New York

Dora

Colleen Bawn

Pat’s Trouble

Under the Gaslight”

On January 31, 1874, The Hamilton Spectator reported, “The Theater was insured in different offices to the extent of about $12,000, and was owned by Mr. French, by whom it had lately been leased to Mr. Tannehill. This is the third time the building has been attacked by fire, and it has at last succumbed to its assailant. The origin of the fire has not been ascertained, but it is supposed that it commenced in the carpenter’s shop, which being stored with paint, wood, shavings and other flammable material, caused it to spread with such unaccountable rapidity” (p. 2).

I remain unsure as to when Dressel joined the Tannehill company, or how long he toured with the group. I have yet to locate any other articles mentioning Dressel’s scenic prior to the summer of 1875. That year, Harry became the scenic artist for the Varieties Theater in New Orleans, Louisiana. There is no doubt that his association with the Tannehills would have improved his chances in the region. Mr. Tannehill had made quite a name for himself in southern theaters after the Civil War, especially Memphis. Initially, Dressel was hired to both paint and retouch scenery.

On Oct. 31, 1875, The New Orleans Democrat reported, “Amusements. The Varieties Theater. – The amusement season at this favorite theater will be inaugurated to-morrow evening by the first appearance in this city of Grau and Chizzola’s admirable French Opera Bouffe Company in the late operatic novelty of Gorofle-Gizolla. The opera itself is spoken of a Lecocq’s greatest triumph, and the critics of the New York press have been lavish in their praises of its merit. During the summer the theater has been carefully renovated, and Mr. Harry Dressel, and eminent scenic artist, has been busily engaged for some time past in retouching old scenes and painting many entirely new ones, all of which are characterized by beauty of design and delicacy of touch, and color.” (p. 8).

After his initial work at the Varieties Theatre, Dressel headed north and painted stock scenery for Steyer’s Opera House in Decorah, Iowa. On Dec. 9, 1875, the Chicago Weekly Post and Mail published, “Special Correspondence of THE POST and Mail. Decorah, Iowa, Dec. 3” (p. 3). The article continued:

“Prominent among the improvements is the enlargement of the Steyer Opera House, with a general overhauling, such as reseating with chairs, enlarged gallery, costly and fine scenery (painted by Harry Dressel, formerly of your city), and with a capacity of about 1,100 persons. Rudolph’s Music Hall has also undergone a similar change. About ninety buildings have been erected, among them some fine business blocks and residences, at a cost of over $150,000. Amusements are thick, A panorama ‘busted’ here a few weeks ago, and the operators went back to their legitimate business, and Jo Steyer, of the Opera House, has a ‘show’ on his hands. Plunkett’s troupe played crowded houses for a week recently, presenting ‘Two Orphans.’ Decorah promises to be lively in the way of amusements this winter.”

“Two Orphans” was a popular production in 1875. It was also featured at the Varieties Theatre in New Orleans that year, with Dressel painting the scenes. On Dec. 2, 1875, the New Orleans Bulletin reported, “Mr. Harry Dressel, the able scenic artist of the theater, has been for a long-time preparing scenes especially for this play” (p. 8). On Dec. 4, 1875, The New Orleans Bulletin further elaborated on the production and Dressel’s scenic contribution:

Elegant Scenery.

“The Two Orphans” at the Varieties.

No matter what the intrinsic beauty of strength of a drama may be, it is in the power of the scenic artist of the theater to greatly make or mar the play as a popular production. No drama is so good that it can be entirely independent of scenic accessories, and upon the artist who creates the scene it devolves to fitly picture the playwright’s ideal of situation and locality. We were led to these reflections by the sight was of the elaborate and artistic scenery which seen Thursday evening at The Varieties Theater in the play of “Two Orphans.” We have rarely witnessed more exquisite productions of the artist’s pencil. The snow scene, in which the very excellent portion of the drama is produced, was one of the most charming and life-like it has even been our good fortune to see; the floor of the stage seemed covered with beautiful snow and had not lain upon it long enough to lose its soft appearance, and had just been there sufficient time to gain a silver shimmer, which made it exquisitely delicate and charmingly picturesque. The beautiful garden and the palace of Belair was almost like a fairy picture in its beauty, and yet not to fanciful to be real. The entire front of the magnificent palace beautifully illuminated; a large and elegant terrace, lighted by handsome chandeliers, and opening upon a lovely garden, presented and elegant scene rarely if ever equaled here on the stage. The picture of the noble’s mansion and the beggar’s hovel were alike truthful and appropriate. Aside from the intrinsic merit of the play, and it is full of admirable points, the scenery should be seen by every lover of the artistic and beautiful in our city; it affords a rare treat and should be seen by all.  Harry Dressel, the artist of the theater, deserves the highest praise for his great success” (p. 1).

His scenic work for “Two Orphans” was still being heralded at the beginning of 1876. On Jan. 16, The New Orleans Bulletin reported, “Mr. Dressel, the scenic artist of the theater, wields a pencil in a way that commands the earnest applause of all judges of true artistic ability, and the scenes in the play, when first presented at this theater, evoked the warmest praise for their real intrinsic merit” (p. 1).

Dressel quickly made a name for himself in New Orleans, repeatedly appearing in local headlines. I am amazed at the amount of press Dressel received for his work, as there was ample work in New Orleans that year; enough to keep several scenic artists employed at multiple theaters, including Anthony Bagnette, Thomas Burke, Angelo Wiser, and William T. Porter.

Fortunately for Dressel, he immediately secured the scenic art position at the Varieties Theater. By December 1875, the venue was leased and managed by Mrs. Henrietta Chanfrau and C. W. Tayleure for a short season. Earlier that fall, Mrs. Chanfrau made news when she attended a performance at the Varieties Theatre with her husband. On Nov. 11, 1875, the New Orleans Republican reported, “Mr. Frank S. Chanfrau, the comedian, and his wife, Mrs. Henrietta Chanfrau, occupied a box at the Varieties Theatre last night. In a professional way, these artists differ as much as do ‘Kit Redding’ and ‘Christie Johnstone’ on the stage, and they seldom meet, and never set together during the theatrical season. In the summer they are ‘at home’ in their comfortable Long Branch residence, playing domestic life in a congenial manner, and appearing an honorable example to the members of the profession” (p. 4).

On Dec. 12, 1875, The New Orleans Bulletin announced Dressel’s scenic work for Chanfrau in “Parted, or the Trust Company Failure,” at The Varieties Theater. The article reported, “Mr. Dressel, the scenic artist of the theater, has been engaged for some time in preparing the scenery for this play, and judging from the admirable exhibition of his skill we have witnessed this season, we predict a rare treat for visitors of the theater” (p. 5).

Dressel continued to make news during at the Varieties Theatre for the rest of the season. On Jan. 4, 1876, the New Orleans Bulletin reviewed Geo. Fawcett Rowe in Halliday’s dramatization of Dickens’s ‘David Copperfield,’ which he named ‘Little Eml’y’.’ The article reported, “Mr. Dressel, the scenic artist, has added new laurels to his list by the elegant and effective scenery used in the play. The boat-house, the church scene, which is, by the way, and exact representation of the Canterbury Cathedral in England, and the storm scene were all perfect gems of the painter’s skill and reflect the utmost credit upon the artist whose pencil formed them” (p. 1).

Of “Watts Phillip’s military and romantic drama ‘Col. Willoughby; or, Not Guilty,’ The New Orleans Bulletin announced, “The plot of the play is in itself very interesting and exciting, and with the truly magnificent setting given it last night, makes one of the most splendid stage attractions we have seen in this city for many a long day. The ship scene in the second act, and the third and fourth acts, were new artistic triumphs for Harry Dressel, scenic artist of the theatre” (25 Jan 1876, p. 5).

Dressel was also heralded for his work on other New Orleans projects that month. On January 9, 1876, The New Orleans Bulletin announced, “The equestrian statue of Jackson which adored the gallery of the Pickwick Club yesterday was executed by Mr. Harry Dressel, the talented scenic artist of the Varieties Theatre, and was completed in an almost incredibly short space of time”) p. 1).

On Jan. 27, 1876, The Times-Picayune described the Washington Artillery Grand Ball at St. Patrick’s Hall: “But the most conspicuous object in the hall, and one upon which the gaze dwelt the longest, was a large sized painting that extended across the wall above the stage. The cartoon was done by Dressel, the scenic artist of the Varieties Theatre, represented a scene in the Shenandoah Valley. In the far distance appeared the huge masses of the Blue Ridge, with its irregular profiled outlined against the sky and white masses of snow merging into the azure coloring of the mountain tops. The silvery course of the Rappahannock might be traced across the broad expanse of rolling green sward, until the glitter of the stream was lost on the obscurity of the forest that stretched along the foot of the mountain range. In the foreground appeared two small field pieces, and close by on the ground a pile of cannon balls, a drum, and a group of muskets. The general effect of then painting was excellent and attracted much attention” (p. 1).

Of Dressel’s painting for John T. Raymond, The New Orleans Bulletin reported, “Mr. Harry Dressel, the talented scenic artist of this theater, has, won additional honors for himself during Mr. Raymond’s engagement – the realistic effect of his steamboat explosion, and his beautiful landscape painting has evoked the warmest praise” (Feb. 6, 1876, p. 8).

Less than two weeks later The New Orleans Bulletin commended Dressel’s work on “Christie Johnstone” at the Varieties Theater: “The scenic effects are very fine, especially the lifeboat rescue, which is a perfect marvel in its way, and is another triumph for Mr. Harry Dressel.” (Feb. 18, 1876, p. 8).

On March 8, 1876, The New Orleans Bulletin heralded Dressel for scenery in Chanfrau’s production of “Kit” – “Mr. Harry Dressel has done all he possibly could to render the play attractive and has really produced some scenic effects worthy of applause always tendered by the audience. The steamboat and the cabin are beautifully painted” (p. 5).

Dressel worked in New Orleans until the end of the season, then followed the Chanfrau Company to New York for the summer. On April 30, 1876, the New Orleans Republican announced, “Mr. Harry Dressel, scenic artist of the Varieties Theatre, leaves immediately for Chicago, and will be employed at the Eagle Theatre, New York, for the summer season” (p. 4). He left the city on May 4, heading up the river to Evansville, Indiana. On. May 9, 1876, The Evansville Journal   announced, The Charles Morgan arrived at 1 am with a big trip of freight and a crowd of people” that included “Harry Dressel and A. Riet, scenic artists” (p. 7). I was fascinated to read, “The Morgan was five days and eight hours out from New Orleans, including all delays.” In Evansville, the ship “discharged 65 barrels molasses, 35 barrels sweet potatoes, 15 barrels rice, 10 of pineapples, 4 cases bananas, 10 sacks coffee, and other freight.” From Evansville, Dressel headed west to Chicago. He was heading home to visit family before starting a position in New York.

On May 7, 1876, The Brooklyn Sunday Sun announced, “Mr. Clifton W. Tayleure, manager of the Varieties Theatre, New Orleans, has entered into a contract with Mr. Josh Hart, of the Eagle Theatre, for occupancy by the Chanfrau Company of the latter place of amusement after June 5…This company will probably occupy the Eagle Theatre until the fall season opens when Hart again assumes the management with a strong comedy troupe” (p. 5). Located at Broadway and 33^rd Street, Josh Hart was the sole proprietor. While examining a few activities at the Eagle Theatre in 1876, I was surprised to discover sheet music for “Emancipation Day,” dedicated to Mr. Josh Hart. The cover noted, “sung with immense success at the Eagle Theatre, New York.”

Braham, David, “Emancipation day: song and chorus ” (1876). Representations of Blackness in Music of the United States (1830-1920). Brown Digital Repository. Brown University Library. Here is the link: https://repository.library.brown.edu/studio/item/bdr:17080/

Before Dressel joined the Chanfrau company in New York, he visited family in Chicago. It was early May in 1876. I wonder what brought Dressel home. It may have been his father’s declining health, as of May 1876, Louis Dressel made out his will.

When Dressel returned to New Orleans that fall, he resumed a position as scenic artist at The Varieties Theatre. On Nov. 11, 1876, Dressel was credited with the scenery for “Our Boys” under the management of Charles Pope.

Although Dressel was listed as scenic artist for the Varieties Theatre in the 1876 and 1877, New Orleans Directory, he also continued to complete a variety of projects that included fresco work. On Aug. 5, 1877, The Times-Picayune reported, “The ceiling of the office has been very prettily frescoed by Dressel, the scenic artist of the Varieties, and there are panels adorned with appropriate figures typifying industry and commerce. The steamboat Natchez has also a place among the figures on the ceiling. The walls are frescoed in scroll and figure work” (p. 1).

In 1877, Dressel was naturalized as a US Citizen.

The most interesting article that I discovered described Dressel’s work as a lighting artist. During the late 19^th century, many scenic artists performed on stage. They would rapidly sketch characters or paint scenes as a variety act. At the Academy of Music in New Orleans, Dressel rapidly painted a tropical landscape for the benefit for Mr. William Morris, machinist of the theatre. On June 1, 1878, The Times-Picayune reported, “Harry Dressel, the scenic artist, who painted in sight of the audience, in less than eight minutes, a complete tropical landscape, commenting on a plain white canvas, six by eight feet. The subject was suggested by the audience, and the composition was the study of the moment. Time was called and the artist run a horizon line, spread on a warm sky, placed a mountain range, run a stretch of water, drew date and palm trees with spreading leaves, dropped a few bright flowers for perspective effect, and left a very pleasing picture for the admiration of an audience that was enthusiastic over such an exhibition of artistic skill and rapid execution” (p. 8). I have written about other lighting artists in the past and find their popular performances intriguing.

Despite accepting a variety of projects, in 1878, Dressel was still associated with the Chanfrau Company, even mentioned in their newspaper advertisements. On April 4, 1878, the Chattanooga Daily Times included an ad for the production of “KIT, The Arkansas Traveler.”

 The article reported, “Their great work was witnessed by upwards of 400,000 personsat Booth’s Theater, New York, and has realized Mr. Chanfrau over $65,000… ENTIRELY NEWSCENERY by Harry Dressel, the famous Scenic Artist of New Orleans, especially painted for this production.”

Dressel delivered scenery for KIT in 1878.

On October 6, 1878, the Chicago Daily Tribune published an advertisement for “Dominick Murray, in his exciting and very successful drama, entitled ESCAPED FROM SING SING; or, Criminal Life in New York” at Hamlin’s Theatre, 87 Clark-st., opposite Court House” (p. 1). The ad announced, “The Drama will be produced with entirely new Scenery by MINARD LEWIS, Esq., and HARRY DRESSEL, Esq.”

This brings Dressel back to the home of his family in 1878.

By 1880, Dressel partnered with John Charles Evans in St. Louis to form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882. Evans partnership with Dressel ended by 1883. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again. Evans became another employee as the Chicago-based firm of Sosman & Landis employee. Here is the link to Evans’ biography https://drypigment.net/2023/04/08/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-103-j-c-evans/

J. C. Evans was a scenic artist who went on to work for Sosman & Landis in Chicago.

On May 10, 1883, The Times-Democrat published an article entitle “OUR SUMMER OPERA – Arrival Yesterday of Miss Alice Oates and Her Company for Spanish Fort” (p. 3). Their arrival was “over the Louisville and Nashville road” with a 25-person opera company. Originally coming from NY.  “Mr. Harry S. Dressel, so well known here as a scenic artist and in connection with our theatres, has made the architectural designs and will superintend the decorations, scenery, etc. His past successes insure excellent work.”

On May 14, 1883, The Times-Democrat of New Orleans, reported about the Spanish Fort: “The gangs of workmen were engaged all day on the theatre over the water, just in front of the reck grotto, and the work will be continued night and day until completed. Already the joist for the floor have been laid, and as the rest of the frame-work has already been prepared to be put together, by the 20^th the building will be completed, in time for the opening by the Alice Oate’s Opera Troupe. Piles are being driven for the foundation of that portion of the building to be occupied by the stage, which work will be finished by Tuesday. Harry Dressel is not losing a moment, and yesterday was hard at it, up on a scaffold, working on the new drop curtain. It will. Represent a scene in the days of Louis Quatorze. In the centre is a colonnade and portico of a palace, not unlike the Trianon, and before it a number of court ladies and gallants are engaged in the then favorite game of battledore and shuttlecock. The poses are graceful and the picture animated. Rich foliage gives a pleasant contrast to the white marble columns and adds a softness to the scene. Mr. Dressel is sparing no pains on this artistic study (p. 3).

Harry Dressel made news across the country. On Nov. 30, 1889, the Telegraphic News section of the Indianapolis Journal reported, “Harry Dressel, the well-known scenic artist, was dangerously stabbed at New Orleans, yesterday, by Ferdinand Amant” (p. 1). Dressel was now 38 yrs. old and wanted money for a project he completed.

On Dec. 3, 1889, the Cincinnati Commercial Gazette reported, “Harry Dressel, the well-known scenic artist of the New Orleans French Opera-house, was severely stabbed one day last week by a lawyer named Armant in a saloon adjoining the theater. The trouble grew out of an unpaid bill for work done by Dressel during the time of the Cotton Palace” (p. 8).

On Dec. 4, 1889, The Louisiana Review described the altercation about the unpaid bill:

“A difficulty occurred between Harry Dressel, scenic artist of the French Opera House, and Fernaud Armant, last Friday afternoon, in a barroom on Toulouse Street, over an unpaid bill for painting a stage curtain of the Cotton Place. Blows were exchanged and Dressel was cut on the face and neck by Armant. The wounds are not considered dangerous. Armant surrendered to Captain Journee, but was released under a $1000 bond” (p. 5).

Dressel briefly left Louisiana and headed to Texas. He picked up a variety of projects, including the design and decorations of floats for German Day. On Oct. 7, 1891, the Galveston Daily News announced, “By 6 am Mr. Harry Dressel, the artist in charge of the decorated floats was busy with a corps of hearty fellow, getting the heavy floats out of the warehouse sheds into the street” (p. 8).

By 1900 Dressel returned to New Orleans.

On Aug 24, 1900, The Canton Times of Canton, Miss. Reported, “The Manning-Yale Co., the biggest and most complete vaudeville aggregation touring the South will open at the Opera House Wednesday, September 12^th…the company is composed of twenty vaudevillers who have made reputations and sustained them. A uniformed concert band and complete orchestra is included. Special scenery painted by the renowned scenic artist Dressel, is used. No expense has been spared to make this production one of the grandest in every detail and disappointment has yet to be evidenced by any audience” (p. 4).

On May 30, 1905, The Times-Democrat published Dressel’s obituary:

 “Harry H. Dressel, a well-known scenic artist, dies at his home, 4318 Canal Street, yesterday afternoon, after an illness of several weeks. His death was a shock to his many friends and acquaintances in this city, for he had been actively engaged in his work up to a short time before his death. Mr. Dressel was born in Hanover, Germany, fifty-three years ago, in which place he received his early education in college as well as in art. He came to this country when a young man and engaged in scene painting. Thirty-one years ago, he came to New Orleans and had lived here since that time. Mr. Dressel became connected with the French Opera House, and for a time worked exclusively. For that playhouse, turning out many hundreds of pieces of work. His studio was in the building, and within those walls he acquired fame. Mr. Dressel did work for the Grand Opera House and also for the St. Charles Theatre. Mr. Dressel started Lake View Park and fixed up a studio at West End. He did much work on the park, and at the same time worked on Carnival ball settings. His work for the Atlanteans was always complimented. The work for the Atlanteans of this year was the last he did. Mr. Dressel was at one time a member of the Southern Yacht Club. He was a vice president of the Ozone Spring Water Company and was a Knight of America belonging to Crescent Lodge No. 110. Mr. Dressel is survived by his wife. The interment will take place to-morrow at the Greenwood Cemetery” (p. 10).

His will was published in The Times-Democrat on 2 Jun 1905, noting, “the will admitted to probate makes a number of bequests: $500 to Harry Groh; $200 to William O. Conne; $100 to Mrs. William Groh; $25 to Lizzie Brown – the remaining property given to Miss Annie L. Hall with $200 for the purpose of keeping the grave of the deceased. David Lemly appointed executor” (p. 10).

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

This post could be titled “Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 114 – Arthur R. Hurtt.”  Yes, I have identified more Sosman & Landis employees this month.

There is always a particular drop that catches my eye when examining an historic scenery collection. It might be the design, or maybe a manufacturer stamp; something that makes another piece of the puzzle fall into place.

On Wednesday, January 10, 2024, I examined a street scene at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. It was the end of the very long day, but my heart leapt when I read the signature – “A. R. Hurtt.”

Street Scene by Arthur Hurtt on display at the Theatre Museum of Repertoire Americana.

Signature on Street Scene by Arthur Hurtt.

Painted detail in Street Scene by Arthur Hurtt.

I first became aware of Arthur R. Hurtt while working on an Undergraduate Research Opportunity Program (UROP) Grant at the University of Minnesota Libraries Performing Arts Archives. I was processing the Great Western Stage Equipment Co. collection (GWSE Co.), the second of two scenery design collections negotiated by Professor Emeritus C. Lance Brockman, University of Minnesota Theatre Department (Twin Cities). The GWSE Co. materials were purchased for the University Performing Arts Library through the collaborative efforts of the University Library, the Department of Theatre Arts and University Theatre alum, Tom Scott.

I spent the better part of a year (1989-1990) cleaning and cataloguing the collection under the supervision of Barb Bezat in a run-down industrial building near the Prospect Park neighborhood. It was a far cry from the modern facility (Elmer L. Anderson Building) that is now located on the U of MN West Bank.  It was Barb who taught me how to clean, repair, and catalogue incoming acquisitions; many techniques that I have carried over to scenery restoration.

Barb Bezat in the stacks at the old archive building. Photograph courtesy of Bezat.

In my spare time, I replicated several designs, then enlarged painted details in distemper paint in the scene shop. As I was learning necessary scenic art skills, I was also practicing with distemper paint (dry pigment paste and hide glue).

10″ x 10″ replica by Wendy Waszut, 1989.

After copying the design at the archives, I would take my replica back to the scene shop where I would paint a 5’-0”x5’-0” full-scale detail using distemper paint (dry pigment paste and diluted hide glue). In the end my small flats were displayed at various UROP events. I presented the results of the UROP project, “The Categorization and Indexing of the Great Western Stage Equipment Co. Collection” both on campus and at a UROP conference in Schenectady, NY.

Photograph with my 5′ x 5′ distemper painting. Published in a CLA Newsletter, 1990.

I received a second UROP grant to process another Brockman acquisition – The Holak Collection (Sosman & Landis and New York Studios). There is nothing quite processing an incoming collection composed of theatrical designs and supplementary materials. You become entrenched in not only the visuals, but also business logistics and marketing tactics.

Some of my happiest hours were spent exploring the contents of a neighboring collection in the stacks – the Twin City Scenic Co. Collection. Much larger in scope, it had not only been processed in the mid-1980s, but had also been featured in an exhibition. Scenic designs and supplemental materials were exhibited from April 5 to June 14, 1987, in the Third Floor Gallery of the University Art Museum, Northrup Auditorium. I never had the pleasure of seeing the exhibit, as I didn’t start my college career until that fall.

It was while exploring the contents of the Twin City Scenic Collection in 1989 that I first encountered a design by Arthur R. Hurtt.

Hurtt, Arthur R.. Sketch of European street with a bridge and city gate.. University of Minnesota Libraries, Performing Arts Archives., umedia.lib.umn.edu/item/p16022coll116:87 Accessed 29 Jan 2024.

He was a one-time employee of the Twin City Scenic Studio, c. 1900-1909. I again examined the sketch as a doctoral student in 1999. At the time, I was assisting in the design of a searchable database for the Performing Arts Archives scenery collections. One of my many tasks was to assign metadata for each digitized image in the Twin City Scenic Co. Collection, Great Western Stage Equipment Co. Collection, and the Holak Collection.

Screenshot of information that used to be included in the database before it shifted servers.

One of my responsibilities was to select five keywords to best identify the artwork. I also created a list of identifiers, while determining creators. It was a challenge to match paintings based in color combinations, paint application, and brush stroke. I was constantly comparing rough drafts, pencil sketches, and color renderings. This meant that I eventually memorized the contents of three collections.

Best. Training. Ever. 

My continued handling of the three collections helped shape my understanding of scenic illusion for the stage. It also provided me with a visual reference when examining extant examples of full-scale scenery at historic opera houses.  

When I encountered Hurtt’s signature on a street scene at the Theatre Museum of Repertoire Americana, it was like greeting an old friend.  It also meant that I immediately knew the significance of the piece. 

I know of no other extant scenic artworks by Hurtt. This drop may be one of the most important artifacts at the museum. Hurtt’s scenic art legacy spanned over sixty years, linking him to major scenic studios in Minneapolis, Chicago, Kansas City, St. Louis, New York, and Los Angeles. In 1901, he was even chosen as the representative of the American Association of Scenic Artists in the international association, visiting Germany, Switzerland, Italy, and Norway in the interests of American scenic art. Although I have gradually added information to my Hurtt file over the years, this project provided me with an opportunity to do a deep dive into his life and career.

His biography is often included in publications that list regional artists, citing that he studied at the Art Students League of New York with Douglas Volks and Irving R. Wiles, and in France with Alex Fournier. Mentions of his early life and scenic art career are vague or non-existent. I am going to try and fill in a few gaps, illustrating the theatrical contributions and remarkable individual who was born in a small Wisconsin Village six months after the onset of the Civil War.

Arthur Russell Hurtt, 1901.

Arthur Russell Hurtt was born on Oct. 31, 1861, in the village of Trimbelle, Pierce County, Wisconsin. For geographical context, the township of Trimbelle is situated along the Trimbelle River in western Wisconsin. It was a newly settled area when the Hurtt family moved north from Illinois.

A map showing the location of Trimbelle, Wisconsin.

Trimbelle’s post office was established in 1855, with postmaster Aaron Cornelison bringing the mail from Prescott once a week. Early buildings included a church, school, and grist mill. As settlers arrived at the area, a variety of other businesses appeared, including sawmills, blacksmith shops, and a furniture store. In fact, ten other townships were organized in Pierce County by 1860. They included Martell, Isabella, Diamond Bluff, Clifton, Oak Grove, Perry, Pleasant Valley, Hartland, Trenton, El Paso, and River Falls.

The story of Hurtt’s parents is quite complex and took quite a while to track down. Arthur was the third child born to William G. Hurtt (1826-1894) and Sarah Marcy Smith (1828-1897). That being said, he was the fourth child born to his mother. Sarah was the youngest daughter of a Revolutionary veteran. On Dec. 8, 1897, The Berkshire County Eagle reported, “Mrs. Sarah M. Smith Hurtt, whose death was mentioned in the County Eagle of November 24, as having occurred in St. Paul, Minnesota, justly claimed to belong to the Daughters of the American Revolution. Her father was the late Russell Smith of Stockbridge who enlisted in the Revolutionary War at the age of 18. He married his second wife here in Stockbridge after he was 60 years old and his only child, Sara M. Smith (Hurtt) was born when her father was 64 years of age. Mr. Smith. Who (by the way was a great uncle of your Stockbridge Correspondent) was one of the revolutionary heroes, who fought for American freedom” (p. 14).

She was quite a lady. In 1896 Mrs. Sarah M. Hurtt was featured in The Minneapolis Journal on April 25, 1896. Under the heading “In a Woman’s World,” the article reported, “This sketch is by her son, Arthur Hurtt, the well known scenic painter, from a bust by Jacob Fjelde, the sculptor. Mrs. Hurtt is the daughter of revolutionary hero, Russell Smith, who at the age of 18 was drafted, in 1780, and fought in the American Revolution. He had three brothers who fought in the same was. His daughter was born when Russell Smith was 64 years old, and she was 14 when he died. She remembers well his stories of experiences in the Revolution” (p. 5).

Bust of Arthur Hurtt’s mother by Jacob Fjelde, published in The Minneapolis Journal, 1896.

The sculptor was Norwegian-born American Jacob Henrik Gerhard Fjelde (1859-1896); well known as a portraitist and creator of public sculptures. Here is a link for more information about Fjelde: https://en.wikipedia.org/wiki/Jacob_Fjelde

Portrait of Jacob Fjelde. Here is the image link: https://commons.wikimedia.org/wiki/Category:Jacob_Fjelde#/media/File:Jakob_Henrik_Gerhard_Fjelde_(1859%E2%80%931896).png

Hurtt’s mother’s story and portrait were again published the following year when she passed; this time in the Minneapolis Daily Times on Nov. 24, 1897 (p. 4).

Sarah M. Hurt portrait, published in the Minneapolis Daily Times, 1897.

This interesting tidbit was again publicly made known when Hurtt was working as a scenic artist in Los Angeles, California. On March 9, 1907, The Los Angeles Times reported, “Mr. Hurtt is said to be the youngest person whose grandfather was in the War of Revolution. His mother was Sarah M. Hurtt, a daughter of a Revolutionary soldier. Her father, Russell Smith, enlisted in 1780 at the age of 18. He was 64 years old when his daughter Sarah was born” (p. 24).

I am going to start out with Sarah M. Smith, as she was the hardest to track down in public records. Sarah was the daughter of Russell and Cynthia Smith, she married her first husband, Royal B. Whitney (1823-1856), at the age of 21 yrs. old on Aug. 24, 1849, in Lanesborough, Massachusetts. This was her 26-yrs. old husband’s second marriage.

The 1850 census lists the newly-married couple living with Royal’s family in Buxton (York County), Maine. Royal was one of several adult children living on the Whitney farmstead that year. Oddly, Royal and Sarah Whitney were also counted at another Buxton household when the 1850 census was taken, with Royal listed as an engineer. In 1853, Sarah and Royal’s only child, Mary Abbey Cynthia Whitney, was born.

This is where it gets a little confusing.

Sarah gave birth to William Hurtt’s first child, Isabelle Hurtt, in 1855. Hurtt was her second husband. Then the couple celebrated the birth of a son, William Hurtt Jr. in 1856. Both children were born in Illinois while her first husband, Royal Whitney, was still alive and legally married to Sarah. He did not pass away until 1856, and Sarah did not marry Hurtt until 1860. Arthur Hurtt was born in 1861, the first legitimate child of Sarah and William Hurtt.

By 1860, Sarah’s second husband was caring for her three children in Trimbelle, Wisconsin. She is conspicuously absent from the Hurtt household in the 1860 US Federal Census Report. William Hurtt’s household included: William (35 yrs.) and his children: Mary (18 yrs., step-daughter), Isabelle (6yrs., daughter) and William Jr. (4 yrs., son). His wife was also living in Trimbelle and working as a schoolteacher. However, she was living with Alexander and Hannah Hathaway, and an 8-yrs. old girl named Sarah Whitney, who listed Wisconsin as her birthplace.

The Hurtt’s were still living in Wisconsin at the onset of the Civil War. William Hurtt enlisted in the Union Army at Prescott, Wisconsin, listing the town as his residence. Private William G. Hurtt served with Company A, 12^th Regiment, Wisconsin Infantry, from Dec. 16, 1863, to July 16, 1865.

I am uncertain as to when the Hurtt family moved twelve miles west to Prescott, but they were still living there in 1870. A much larger community than Trimbelle, Prescott is located at the convergence of the St. Croix and Mississippi Rivers and offered many more employment opportunities. It was a center for river transportation, shipping, and milling. There was an ample supply of wood, as harvested pines were rafted down the St. Croix River. When the 1870 census was taken, William Hurtt was employed as a cooper.  Keep in mind that those skilled a barrel-making were an essential part of agricultural activities, especially in the Midwest.

The Hurtt family lived in Prescott for much of the 1870s before venturing up the Mississippi to St. Paul, Minnesota. Both William and Arthur Hurtt were listed in the 1878 St. Paul Directory. The family lived at 136 E. Fourteenth, with William continuing his trade as a copper and Arthur working as a painter. In later years, Hurtt recalled that he began his “study of art” in 1878.

The family remained at the same address the next year, with Arthur continuing work as a painter. In 1879, he listed his employer as Ingham & Corlies. This firm manufactured sash, door, and blinds. Painters were employed to paint scenes on decorative blinds for both commercial and residential windows. Edward Ingham’s and William Corlies’ storefront was located at Eighth and Jackson. Arthur likely worked at their factory location; the northwest corner of Sixth and Cedar. Other employed at Ingham & Corlies in 1879 included glaziers, machinists, woodturners, and carpenters. In fact, there were over 200 individuals who listed themselves as painters in the St. Paul Directory that year, working for a variety of firms that included factories for machinery such as St. Paul Harvester Works, St. Paul Plow Works, St. Paul Foundry & Manufacturing Co., and the St. P & D. Railroad. Beck & Rank, E. F. Kramer & Son, Judson & Brack, and J. A. Brazille & Bro. were decorating firms that also employed a significant amount of painters in St. Paul, advertising fresco, home, and sign painting. Hopefully, this provides context for employment opportunities when the Hurtt family moved from Prescott, Wisconsin, to St. Paul, Minnesota.

Hurtt transitioned from painting blinds to painting stage scenery in 1879. In later years, Hurtt listed that his first notable scene painting project was for C. R. Foreman’s “Cuban Spy.” In 1879, Kansas City newspapers announced the engagement of Foreman at Clark’s Coliseum Theatre in his “new and sensational drama…with new scenery, properties, etc.” (The Kansas City Times 30 Dec 1879, p. 8).

Arthur Hurtt painted scenery for Rial’s The Cuban Spy In 1879.

In 1879, William Hurtt was not listed in the St. Paul directory. Only Arthur and his mother, Mrs. Sarah Hurtt, were listed as living at 136 Fourteenth.

It is possible that William Hurtt’s injuries sustained during the Civil War forced the Hurtt family to move up stream and closer to a veterans’ facilities in St. Paul. On June 12, 1880, the William G. Hurt applied for a Civil War pension as an invalid. From this point on, he was not included in any City Directory. The 1880 census confirmed that William G. Hurtt was no longer part of the Hurtt household, as that year, the US Federal Census recorded that only Sarah Hurtt was living with three daughters: Mary A. C., Sarah E, and Martha “Mattie.” Arthur was likely on the road – painting. The 1890 Veterans Schedule listed William G. Hurtt at the Minnehaha Soldiers Home in Minneapolis, Minnesota.

The 1880 St. Paul directory listed both Arthur and his mother living at 59 Cooper. Arthur was now listed as a scene painter, signaling the official beginning of his theatrical career. Hurtt soon working as the scenic artist for Wood’s Opera House in St. Paul and living at 202 13^th street.

On Oct. 25, 1882, Hurt married Hansine “Winifred” Cammon (1864-1943) in St. Paul, Minnesota. Born in Henjum, Leikanger, Sogn of Fjordance, Norway, she was the daughter of Ole Ferdinand Cammen (1833-1896) and Bergitte Schanke (1832-1919). She emigrated with her parents as a toddler in 1866. By 1880, Winifred was listed as a domestic servant at the Kennedy boarding house at 183 Exchange Street in St. Paul. I have yet to locate any information regarding how to two met.

In later years, Hurtt stated that he worked on J. Rial’s production “Taken Fron Life” in 1882. Hurtt painted scenery for “Taken From Life” at the People’s Theatre that year. In both 1880 and 1881, Rial’s toured the Academy of Music in Minneapolis, offering an opportunity for Rial to encounter Hurtt (The Saint Paul Globe 7 Nov 1880, p. 8).

In 1883, Hurtt relocated to St. Louis, Missouri, resigning his position at Col. Wood’s Theatre. On April 1, 1883, The Saint Paul Globe reported, “Arthur Hurtt has resigned his position as scenic artist at Wood’s Opera House and will soon leave for St. Louis” (p. 5). As with many scenic artists at the time, Hurtt maintained a residence in more than one city. He painted an “H.M.S. Pinafore” set for the Chicago Ideal Opera Co. Extended stays in any one location for a scenic artist meant that new job offers had to reach them throughout the year. They trailed work from one region to the next, securing a series of rooms. For example, Hurtt was listed as an artist in the 1884 St. Paul Directory, rooming at 239 Norris. The mid-1880s found Hurtt bouncing back and forth between Minneapolis, St. Louis, and Kansas City. Rail travel between this metropolitan areas was extremely accessible at the time.

Hurtt’s services were secured for both the building and renovation of numerous opera houses throughout the 1880s. He was listed at scenic artist at St. Paul’s Olympic Theatre in Harry Miner’s Dramatic Directory for the season of 1884-1885.

His affiliation with St. Paul’s Grand Opera House started in 1883. That summer, he presented a painting to Harry G. Carter, who had charge of building the interior of the Grand Opera House.  On Aug. 26, 1883, The Saint Paul Globe reported, “a picture presented by Arthur R. Hurtt scenic artist to Mr. Carter, representing Carter’s process of turning out Opera Houses rapidly, which was very appropriate to the occasion, as he is certainly doing some rapid and excellent work on the new Opera house” (p 5). Smart move, as Hurtt later worked as a draughtsman for H. G. Carter in the 1886, even listing Carter as his employer in the St. Paul Directory

The Grand Opera House opened on Oct. 15, 1883, with Hurtt acting as the venue’s primary scenic artist. The Opera House was located on the east side of Wabasha between Third and, with other places of amusement including Conley’s Varieties Theatre, Knauf’s Hall, Pfeifer’s Hall, Music Hall and Athenæum. A notable project for Hurtt in 1884 was “Siberia.” In 1884, Hurtt painted a new drop curtain for Boyd’s Opera House in Omaha. Nebraska. On Sept. 13, 1884. The North Loop Herald announced, “A new drop curtain, costing $1,000 has been put up in Boyd’s Opera House at Omaha” (p. 3).

Hurtt was still listed in the 1885 St. Paul Directory as “scenic artist Grand Opera House, res 513 Robert.”

The Grand Opera House, St. Paul, Minnesota. 

On Feb. 1, 1885, The St. Paul Globe reported, “Mr. Arthur Hurtt, scenic artist at the Grand Opera House, is at work on a handsome tent drop, cottage flats and a couple of interiors, and a landscape scene just finished. Mr. Hurtt has only been connected with the Grand for a short period, but he has more than demonstrated his capacity for fine and artistic work. He is also engaged in revamping several sets of the eye-sore scenery which he found in use on his arrival, and which has been the subject of adverse criticism. The old scenery will be painted out as fast as possible, and before long it will be replaced with a stock of good modern sets. Mr. Hurtt is a gifted artist, and he deserves to be liberally encouraged, his treatment of foliage and figures being particularly fine.” On Feb. 22, 1885, The Saint Paul Globe  reported, “Mr. Arthur Hurtt, the scenic artist at the Grand Opera House, is a very retiring and modest young artist. He makes his brush do the talking, Mr. Hurtt is a great worker, and works very rapidly. He is engaged on the flats and settings for the opera house to be produced next week. Two of the scenes are finished, one a garden scene and the other a landscape, both good in color and perspective. Mr. Hurtt is a close student of nature, his foliage being most natural – something not at all easy in scene painting. By the way, the new drop curtain, which was put in place in the West St. Paul theater, is also by. This artist; it is a striking and very attractive piece of work” (p. 2).

In March, Hurtt was heralded for his work on the production “A Social Wreck” that month too. On Mar 8, 1885, The St. Paul Globe “A Social Wreck” – “Special scenery is being painted by Mr. Hurtt, scenic artist of the Grand Opera, for the production of the Opera” (p. 8).

By the end of summer, Hurtt again relocated to another city; his move making news in St. Louis. On August 15, 1885, St. Louis Post-Dispatch (p. 12): “Arthur R. Hurtt, the distinguished young artist who formerly lived in this city and who has made such a splendid hit in St. Paul, has temporarily located to Kansas City. Arthur is a young man who won a name through untiring energy and hard labor” (p. 12). In Kansas City, Hurtt secured accommodation at Independence Square. Hurtt was an immediate success. On August 29, 1885, the St. Louis Post-Dispatch reported, “Arthur R Hurtt is astonishing the natives of Kansas City with the productions of his brush” (p. 11). In 1885, Hurtt delivered scenery to The Academy of Music in Omaha, Tootles Opera House in St. Joseph, Missouri, and the Bijou Grand Opera House in Milwaukee. I believe that Hurtt was sporadically working for Sosman & Landis Scenic Studio at this time. The firm had regional branches, including Kansas City, that hired well-known scenic artists for short engagements when their workload substantially increased.

As previously mentioned, in 1886 Hurtt returned to St. Paul where he worked as a draughtsman for Harry G. Carter.  This is not meant to say that he stopped painting scenery for the year, he just accepted enough work to warrant the association in the St. Paul Directory. His work with Carter did not last for long, and soon Hurtt was back as a scenic artist, even on the road, working as a scenic artist throughout the region. In 1887, Hurtt became associated with a Chicago-based firm, likely Sosman & Landis. He returned to Minnesota shortly before the opening of On April 30, 1887, the Leader-Telegram announced, “Arthur Hurtt and Charles Clark, scenic artists, are now engaged in completing scenery for the new Eau Claire theatre, 211 Barstow street. Messrs. Fred Burnard and Hays yesterday purchased the fixtures, lease, etc., of the Sherman House” (p. 3). In addition to drop curtains and stock scenery collection, Hurtt also worked listed the following shows for notable work in 1887: “The Danites,” “Two Orphans,” “The Gallery Slave,” and “The Silver King.”

In 1888, Hurtt became associated with the People’s Theatre. On February 19, 1888, his name was mentioned alongside several other well-known scenic artists in an article entitled “Stage and Scenery,” published in The Saint Paul Globe (p. 10). The article reported, “Arthur B. Hurtt at the People’s Theatre, this city, is comparatively a young artist, having been painting scenery less than ten years, and a St. Louis paper is authority for his being one of the best young artists in the country. Mr. Hurtt is very retiring and modest young artist, a great worker and works rapidly He studies hard, is a close student of nature and has the true spirit of an artist, He has made a life study of trees and landscapes, his foliage being most natural, which is not at all easy to accomplish in scene painting. Being a good colorist, and draughtsman as well, his work is not often surpassed. Mr. Hurtt came here from Chicago a short time before the opening of the People’s theater and has painted all the scenery used there except the drop curtain, which was let to a Chicago scenic firm owing to the rush of the opening.”  The Chicago firm mentioned in the article was Sosman & Landis.

Hurtt remained at the People’s Theatre for all of 1888, repeatedly making news for his scenic accomplishments. Notable projects in 1888 included “The Black Flag,” “The Octoroon,” “Hazel Kirke,” “A Celebrated Case,” “Leah, the Foresaken,” “Lost in London,” “The Mikado.” Hurtt was also credited with scenery for Theodore Hamilton’s “Dr. Jekyl and Mr. Hyde,” “Sea of Ice,” and “Forty Theives.”

Of particular note was his work on “The Forty Thieves. On Dec 22, 1888, The Irish Standard reported, “Arthur Hurtt, the scenic artist of the house, returned a few weeks ago from a two-week’s visit to New York in search of designs and materials for the elaborate stage setting which will be a conspicuous feature of the production. He has, since his return, been at work on the scenes, aided by a large staff of assistants, and some strikingly beautiful tableaux’s have been prepared.” (p. 5). Other productions at People’s Theatre included, “Romany Rye,” “The Governor, and “Antietam.” Of “Antietam,” or the Spy of South Mountain,” one newspaper article reported, “A plantation scene will be an especially elaborate piece of stage setting, and Arthur Hurtt, the scenic artist, has provided a cyclorama, showing the stockade prison at Salisbury. Over 500 figures are shown on the canvas, and the scene will be topographically and historically correct” (p. 1).

Hurtt also continued scenic work at theaters in Minneapolis and St. Paul. In 1889 he painted scenery for Jacob Litt’s “The Stoaway” at the Bijou. On Oct. 13, 1889, The St. Paul Globe mentioned Hurtt’s continued association with the theatre in the “Foyer Gossip” section, “Arthur Hurtt, scenic artist of the Bijou, was last week called to Denver to paint the new scenery for the Star-Away company, which was burned up while the company was en route from Salt Lake City” (p. 10).

Hurtt’s work for Jacob Litt’s Grand Opera House in St. Paul even made news in Iowa. On Sept. 7, 1890, the Sioux City Journal reported, “The scenic artists were Arthur R. Hurtt and Fred E. Powers” (p. 10).

Hurtt’s reputation as an easel artist was also on the rise. On Sept. 18, 1890, the Minneapolis Daily Times reported “Arthur Hurtt’s Work. Another Half Hour in the Exposition Art Gallery. There’s a young Minneapolis man whose constant and conscientious work is bound to get him ahead. I refer to Arthur R. Hurtt. He is a clever scenic painter who does not propose to have a drop curtain fall upon him and his art before he has succeeded in appealing to a larger audience than view his stage effects. He puts in all his extra time in hard study, and the results are becoming very creditable to him. In the first gallery at the exposition hangs a picture by Hurtt entitled “Goldenrod.” A young woman in gray is standing in the midst of the Midas-touched flowers. There is some very good work in the picture, especially in the blossoms and the texture and coloring of the gown. Minnehaha is a never-ending joy to the artist or to the genuine nature lover. Her glen has many a beautiful sheltered nook not perceived by the careless comer, only discovered by her to the best of her lovers, just as the noblest of a shy woman is seen only by those who seek her out. Hurtt has painted a bit of “Minnehaha Creek” in No. 466. His “Reflection” too, shows this same hard work which Goethe pronounces the only genius.” (p. 2).

In 1891, Arthur Hurtt assisted William P. Davis in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. On April 11, 1891, “The Irish Standard” reported, “The stage has been enlarged and improved, new curtain and scenery being especially designed and painted by W. P. Davis, as assisted by Arthur Hurtt” (page 5). Davis was also a former Sosman & Landis employee who had worked in Kansas City with Lemuel L. Graham in the mid-1880s.

Shortly after Hurtt’s work with Davis, he headed east to work in New York and Boston, at Niblo’s and the Globe Theatre, respectively. Touring productions in 1891 included DeWolf Hopper’s “The Lady or the Tiger.”

While working in the east during 1892, Hurtt painted drop curtains for stages in: Athol, Mass.; South Norwalk, Conn.; World’s Theatre, Boston, Mass.; and Soldier’s Home Theatre, Togas, Maine. That year, he was living in Boston; first at 426 Broadway S., and later at No. 3, Web Court in South Boston. By 1893, Hurtt listed two residences:  221 W. 11^th St., New York City, and the Hillman House in Washington, D.C.

Despite his move, Hurtt continued to return home and paint scenery for Twin City theaters, especially when architect H. G. Carter was involved with the project. In fact, in 1893, Hurtt painted scenery for Minneapolis’ Grand Opera House, Bijou Opera House, and Hennipen Avenue Theatre. On Jan. 1, 1893, The St. Paul Globe announced, “Minneapolis will have another theater, and W. F. Sterling, the veteran manager and prince of good fellows, will be its manager” (p. 13). The article noted that Carter was the architect and “Arthur Hurtt, of the Globe theater Boston, will do the scenic curtain work.” Staff for the new venue was announced on April 1, 1893, in The Star Tribune (p. 3). The article noted, “[Manager Sterling] has postponed the selection of the company long enough to engage his old stage carpenter of the People’s, Wm. Brown, for the new theater. Mr. Brown is at present head stage carpenter for the Harris house in Louisville. He will arrive here sometime before the opening and superintend the construction of the stage. The scenic artist of the new theater will be Arthur Hurtt, now of Niblo’s Garden, New York. Mr. Hurtt is well known in this city and considers it his home.”

Hurtt’s hiring coincided with the birth of his adopted daughter, Mildred “Minnie” M., who was born in North Dakota in April 1893. Although, I have yet to uncover any definitive dates pertaining to Minnie’s adoption, on Oct. 5, 1899, The Minneapolis Journal  announced, “Arthur R. Hurtt has gone to Fargo, N. D. for a month” (p. 5).

April 20, 1893, the Star Tribune reported, “Arthur Hurtt, formerly scenic artist of the old People’s (now Bijou) Theater, and lately established in New York and Boston, arrived in the city yesterday to begin arrangements for painting and supplying the new People’s Theatre with scenery” (p. 5). By June, Hurtt began designing for the space.  On June 4, 1893, the Star Tribune reported, “L. C. Stafford, proprietor of the new People’s Theater, and Manager Sterling have accepted a bright suggestion for a dramatic introduction to the theater made by the scenic artist, Arthur Hurtt. He will paint four life-sized portraits of great American actors to be handsomely framed and hung on the walls of the entrance-way as a lasting ornament and distinguishing features if the theater. Mr. Hurtt suggested four great actors, but the suggestion was patriotically amended to American actors by Manager Sterling.  The sight of the speaking portraits will assist the patrons as they pass in to get into the dramatic spirit that should pervade a theater” (p. 17).

 On June 18, 1893, the Star Tribune announced, “Manager Sterling, of the People’s has accepted the design for the drop curtain submitted by Arthur Hurtt. The picture will be poetic and beautifully colored representation of the coming of spring. There will be flowers, children and a beautiful colored representation of the coming of spring. She will be an ideal queen of the May.”

William E. Sterling, manager of the new People’s Theatre.

Interior of the new People’s Theatre.

On March 17, 1894, The Irish Standard announced the anticipated opening of the new People (p. 8). The article described the stage, making special mention of Hurtt: “The paint frame and bridge for scenic artist Mr. Arthur Hurtt and his assistants is on the read was and is incessantly occupied by himself and assistants for the production of new scenes for the forthcoming plays, which will have every scene painted especially for them each week. “The new People’s Theatre opened on March 24, 1891; its final cost estimated to be $250,000.

Hurtt’s career continued to soar, and on May 31, 1894, The Minneapolis Journal Published a detailed article entitled, “Arthur Hurtt’s Dream” (p. 6). I am including the article in its entirety, as it fills in many blanks and shows how much scenic artists traveled for work.

“There is a good deal more in dreams – some dreams – than people sometimes think, and this was attested the other day in a strangely interesting story told to a Journal man by Arthur Hurtt, the scenic painter at the People’s, and well known too, for his work in the line of landscape.

In 1879 Mr. Hurtt came to Minneapolis to do some scenic painting for the old Academy of Music. When he had completed his work here, he went to St. Louis for a few days and then to Council Bluffs where he was to do scenes for a new stock company theater just opening in that town. When he was well on with the work in Council Bluffs, he was, as is often the case with a man in any line of work, so interested that he would dream at night of his plans and work. One morning he woke up and recalled a dream he had of a beautiful landscape. It was a place of rare beauty, a dale or valley in the midst of gentle hills surmounted by graceful trees. In the center of the scene stood a large rock with a splendid old elm tree overhanging it, and near at hand, a clear stream from water, were cattle drinking – a most picturesque and interesting scene. So strong an impression did it make upon his mind that he sketched it out during the forenoon, that seeming to be the only way he could rid himself of the dream that haunted him.

A day or two later a landscape was wanted to fill out the set of scenes. Casting about for some material, the artist bethought himself of his dream, got the sketch, and made a scene from it. It was complimented highly and was one of the best things he had ever done.

This was in the wintertime. In June Mr. Hurtt was in Danville, Ill., putting the scenery in a new stock house at that place. While at work one day some men about the place asked him if he would not like to go for a swim the next day. The Vermillion river is near at hand, a clear, cool stream, and the invitation was accepted, Hurtt took along his sketching box, to note down any suggestion for scenes he might find. When the party was near the bathing place, out in the country some distance from the town, they passed down a little hill and found themselves looking into a beautiful little valley. Hurtt stopped and was suddenly deep in thought. There was something familiar about the place. At last, the thought dawned on his mind that he stood in the presence of the exact scene he had painted from his dream – the same big rock, the high, overhanging elm tree, the wooded hills roundabout, the stream flowing through the grassy valley, and even as he looked some cattle came leisurely down the hill to drink, filling the last detail.

Hurtt could hardly speak when he was asked to go on with the party, he was so overcome with a strangeness of the whole thing. He said he would stop where he was and make a sketch and the rest went on. He was hardly able to use his material at first so impressed was he with the fact that he was actually sketching from nature the picture he had before painted from a dream.

The next day in sauntered and old actor named Keane, who had been playing Council Bluffs when Hurtt was putting in the scenery there and who was a member of the Danville Stock company. After some general conversation he said:

“Say, Hurtt, why don’t you paint a landscape like the one you painted in Council Bluffs; that’s the gem of the whole lot?”

Mr. Hurtt told him perhaps he would, and then asked the actor if he wouldn’t like to take a walk. They did so later in the day, and Hurtt piloted him to the little valley and let him discover the scene of the dream. He was quick to see it, and exclaimed:

“Well, here’s where you got your sketch is it, for your scene?”

Hurtt told him no. that he had never seen the spot until a day or two before; that he had never been to Danville before in his life. When he told the actor the story Keane was much impressed. It may be that the strain of superstition which some folks maintain runs in the blood of an actor was in the old actor’s veins; at any rate, he wrote a long story for it for the New York Clipper.

But the strange part of the matter did not end here.

Some months afterward Mr. Hurtt was in St. Louis. He is very fond of paintings, of course, and one day he stepped into a gallery to look over the collection. Passing from picture he at last halted before a large canvas having a beautiful scene – lo! It was the scene of his dream!

He was sure of it beyond all question – the bog rock, the overhanging elm the cattle drinking. The hilly enclosure, the valley and its grassy carpet – it was his dream scene in all essentials, only worked out in detail somewhat. Ore, as a painter for an exhibition would be apt to introduce more of the details that one painting for a theatre scene.

Hurtt was amazed beyond measure. Plainly the artist who painted it must have visited Danville and made a sketch or done the whole painting there; and then he remembered that the manager of the theater had told him how much the scenery around Danville was admired by the artists and how they came there from various parts of the country to make sketches.

That was all well enough as an explanation of the picture in the St. Louis gallery picture came from – the artist had been there for his sketch, but that didn’t explain the strange fact of the dream in Council Bluffs.

While Hurtt was looking at the picture and wondering about the strangeness of the whole thing, by one of those peculiar mental acts which no one can account t for suddenly remembered being in St. Louis before – a year before. He had passed along this same street and by this same gallery. Yes, and he remembered now that he had stopped in front of the window to look at a beautiful landscape when his attention was immediately taken by an accident in the street. A man or woman was hurt, and it was right in front of him, he stepped to the street with the crowd. He had but just glanced at the picture; had not had a chance to more than take in the general scope, and then when the excitement of the accident was over he had passed on up the street without looking in the window again.

But the one glance had been sufficient to photograph upon his brain the picture, before which he was now standing. In his dream he had called it from its sleeping place in the gallery of his brain.”

In addition to painting scenery for the New People’s Theatre, Hurtt also was associated with Minneapolis’ Metropolitan Opera House. However, in 1895, scenic art opportunities temporarily drew Hurtt back east. On Aug. 21, 1895, the Minneapolis Daily Times announced, reported “Arthur Hurtt, formerly the scenic artist at the Metropolitan, is now occupying the same position at the Broadway Theater, of New York” (p. 5). Hurtt went to paint for John H. Young, another former Sosman & Landis employee. On Nov. 15, 1896, the Minneapolis Daily Times verified the connection when reviewing Hurtt’s scenery in the McKee Rankin production of “New York As It Is” at the Bijou (p. 15). The article reported, “The production is promised to be adequately staged and the special scenes will include a new exterior showing the famous high bridge over the Harlem River, New York, from the brush of the well known scenic artist, Arthur Hurtt, late of the studio of John Young, of the Broadway Theater, New York.” Hurtt continued to work with Young over the years on a variety of projects. In 1898 Young designed the scenery for “Mistakes Will Happen,” with scenery painted by Hurtt. On June 18, 1898, the Minneapolis Daily Times reported, “Arthur Hurtt, the well-known scenic artist, has constructed and painted a remarkable novel scene from models furnished by John Young, the celebrated Broadway artist” (p. 4).

By the following year, Hurt was once again working in Minnesota’s Twin Cities of Minneapolis and St. Paul. Hurtt tried his hand at a new entertainment- Living Pictures at the Jacob Fjelde Testimonial. On May 23, 1896, the Minneapolis Daily Times described, “After a short intermission the curtain rose again over a series of very artistic living pictures, arranged by Arthur Hurtt. The first of these showed Leif Ericson, as Jacob Fjelde has sketched him – a sturdy Viking, standing in the prow of his ship, looking ahead to catch the first glimpse of the shores of Vinland. Allegoric representations of the various fine arts followed. Then came two pictures entitled “Gettysburg,” showing scenes from the famous battlefield. These two pictures were among the finest of their kind that have been seen here. The last picture showed Ole Bull, the great violist. This closed a program. Which, although somewhat extended, was excellent in every detail.”

On May 20, 1896, The Minneapolis Journal described Hurtt’s contribution, reporting, “Most interesting of all, under the circumstances, will be a reproduction, under Arthur Hurtt, of the best works of Fjelde, with living models. The living pictures, for such they will be in fact, will be illuminated by a 10,000-candle power light and will be very beautiful” (p. 13). As previously mentioned, Fjelde sculpted the bust of Hurtt’s mother.

That summer Hurtt expanded on the scope of his entertainment. He placed an advertisement on July 1, 1896, in the Minneapolis Daily Times advertising, “WANTED – Girls to pose for living pictures; professional models preferred; one small child, 3 or 4 yrs. old, to represent Cupid. Apply to Arthur Hurtt as stage door, Bijou opera house. Tuesday, 3 p.m.” (p. 7). Hurtt was in the process of creating a new entertainment. On Sept. 5, 1896, the Star Tribune “Arthur Hurtt’s Living Pictures at the Metropolitan.”

Another description of Hurtt’s “Living Pictures” was published in The Minneapolis Journal on Aug. 21, 1896 (p. 5). Here is the article:

“The living pictures presented at Lake Park last night by Arthur Hurtt’s company were a great success artistically and proved an excellent drawing card. The stage arrangements were very complete and satisfactory, although the preparation had entailed a large amount of work, and the lighting was perfect. Many of the pictures were shown in half a dozen different lights, greatly enhancing the interest and artistic effect. A large number of pictures were shown, nearly all being reproductions of famous and familiar paintings. Each was accompanied by suitable musical selections by the orchestra. The pictures were carefully and gracefully posed and were the best exhibition of the kind ever shown in this part of the country, Many of them were encored. Among the pictures shown were Joan of Arc, Psyches’ Mirror, The Fates, Gettysburg. Cupid, Neptune’s Daughter, Diana, Sappho, Spring, Summer, Grace Darling, Hailing the Ferry, Soldier’s Farewell, and Sweethearts. Miss Carrie Millward gave two admirably rendered coronet solos and Miss Lizzie McKeever sang several popular songs in a very fetching manner, which brought enthusiastic recalls. The big laugh of the evening, however, was when the curtain drew back revealing the round form of a “little Jimmy” posed as Dan Cupid with white wings and bow and arrows making a desperate and successful attempt to keep his face straight. The exhibition will be continued this evening and to-morrow, with numerous changes in the program.”

Hurtt continued to show his living pictures as a vaudeville feature at the Bijou that fall (Minneapolis Daily Times 3 Sep 1896 p. 4). I was intrigued to discover that his living pictures were paired with an animatography debut at the Bijou Theatre and am including the article as is shows an interesting pairing of early film and live theatre. On Aug. 4, 1896, The Minneapolis Journal announced, “LIKE THE VITASCOPE – The Animatograph Makes Its Debut in Minneapolis” (p. 8). The article continued, “Before 200 guests of Manager Hays, the animatography was given trial at the Bijou last night. The animatography is on the lines of the vitascope, which has been on attraction in Chicago and New York recently. It is the kinetoscope principle extended to fill a stage with moving and life-like scenes. Some of the scene showed typical street sights, ocean views, factory workers, bridges and passengers crossing and recrossing. Every picture was full of life, and it needed only the noise of the street and the crowd to add every element of realism.

G. A. Henry, who superintends the production, brought the machinery and views direct from London, Eng., where they were a part of the variety show at the Alhambra. Theodore Hays has secured the American rights with Mr. Henry and is looking after the bookings in this country. The first public production may be in Minneapolis on the roof of the Guaranty Loan building.

At last night’s entertainment Arthur Hurtt produced some of his living pictures and they were rewarded with hearty applause.”

In addition to theatrical endeavors, Hurtt’s easel art was becoming increasing popular. He exhibited watercolors as part of the first spring exhibition of the Minneapolis Art League. Held at Beard’s galleries, his work was featured alongside that of Alexis Fournier, Alex Grinager, Herbjorn Gausta, Prof. Robert Koehler, E. Ofstie, Florence Wales and Miss M. E. Roberts. Of Hurtt’s works, the Minneapolis Daily Tribune reported, “Arthur Hurtt has four strong watercolors, one of an Angora cat being particularly good” (1 June 1896, p. 6). I am going to sidetrack for a moment with the Hurtt family’s love for angora cars. In 1907, their 3-mths. Old angora cat, named Punk, even made the news.

On Sept. 1, 1907, the Star Tribune announced, “Remarkable ‘Puss’ Drinks From Babe’s Nursing Bottle.” The article continued, “’Punk,’ the talented cat belonging to Mrs. Arthur R. Hurtt, wife of the well known scenic artist, is almost human. He is a frisky little three-months-old Angora. According to his owner he is the smartest ‘baby’ for his age in all Hennepin county and can do tricks without number. One of his cutest stunts and one which he must enjoys is to hold a nursing bottle in his pows [sic.] and immediately get away with the contents of the bottle. While performing this favorite pastime The Tribune photographer caught him. Punk is the son of a full blood Angora cat that survived the San Francisco earthquake” (page 17).

Hurtt’s cat, Punk, featured in the Star Tribune, 1907.

Another picture of Hurtt’s cat, Punk, featured in the Star Tribune, 1907.

In 1897, Hurtt continued to travel for work, even venturing into Canada. That year he delivered a drop curtain to the New Winnipeg Theatre.

Hurtt continued his association with the Bijou. Notable productions that he painted for Litt in 1897 and 1898 include “Under Martial Law,” “The Showman’s Daughter,” “Matilda,” and “Mistakes Will Happen.” His association with the Bijou continued to be listed in the 1897 and 1898 Minneapolis Directories:

“Hurtt, Arthur R., scenic artist, Bijou Opera House, r w s 39^th av s nw 49^th.”

Other projects in 1898 included “Murray and Mack’s Finnigan’s Ball,” “On the Swannee River,” “Elsie DeTourney’s Joan of Arc,” and “Prisoner of Spain.” After the 1897-1898 season closed, Hurtt opened his own studio, placing advertisement in local newspapers. On 31 Jul 1898 Minneapolis Daily Tribune “SCENERY of all kinds. Studio, 215 Hennepin av, the only place of the kind in the northwest Arthur Hurtt, scenic artist” (p. 15).

Hurtt advertisement from Dec. 19, 1899 Minneapolis Daily Times.

On Dec. 19, 1899, Hurtt advertised in the Minneapolis Daily Times: “Scenery for opera houses, halls and secret orders, Arthur R. Hurtt 215 Hennepin, Mpls.” (p. 6).

From the Waszut-Barrett Theatre Collection.

Hurtt’s success prompted a residential move. In 1899, the Hurtt family moved to the Minnehaha Falls neighborhood. That summer, Hurtt hosted the wedding of his younger sister, Martha Charlotte Hurtt to Everett Grey Loring at their new home, 4840 39^th Ave. S. The Hurtt’s new home was described in the Star Tribune on Aug. 20, 1899 (p. 14): “Mr. Hurtt’s home is situated on a hill overlooking Minnehaha creek as it winds among the trees, and it provided a lovely setting for a happy event.”

On Feb. 4, 1899, The Minneapolis Journal reported, “The enterprising residents of the Minnehaha Falls District who have built Hiawatha Hall for themselves as the center for the literary, dramatic and social affairs of the suburb, find themselves the objects of many congratulations, not only on this account of the building itself, but because of the artistic drop curtain which Arthur Hurtt, the scenic artist, has supplied for the stage Mr. Hurtt lives on Minnehaha creek, and his environment was therefore well suited to inspire him for his subject. The photograph reproduced herewith gives an excellent idea of his treatment of the subject. The figures were painted from studies made from life in Mr. Hurtt’s studio. The canoe is from the real thing owned by the artist. The scene is on the creek above the falls at the point where Mr. Hurtt has built a rustic bridge near his house. The background is made up of masses of rich greens with a pretty bit of distance. Characteristic birches line the banks, and a deer may be seen peering through the foliage on the opposite shore. The picture is drapes at the top with deerskin fringed in Indiana fashion, and at the top left-hand corner hang beadwork, Indian relics and trophies. A scroll pattern of unique design borders the bottom and sides of the picture, with a strip of gold next to the latter. The whole effect is thus in keeping with the subject and the environment of Hiawatha Hall” (p. 9).

Image of Hurtt’s drop curtain in the Minneapolis Journal, 1899.

On June 25, 1899, The Saint Paul Globe reported, “Among the most expensive of the improvements is the construction, under the direction of W. K. Brown, of a new and commodious stage in the large pavilion, complete with all the requirements and including a complete equipment of scenery and a most elaborate drop curtain from the brush of Arthur Hurtt, the scenic artist” (p. 28). Hurtt was also credited with Minneapolis’ Metropolitan Opera House and the St. Paul Metropolitan that year (Star Tribune 6 Aug 1899, p. 24).

Hurtt’s life and career constantly made news at the end of the nineteenth century. There are so many articles about his scenic work; simply too many to include in this post.

However, one really caught my eye. It was quite unique that places Hurtt in a different light, yet gives insight into his personality and character.

On March 15, 1898, the Minneapolis Daily Times announced, “Arthur Hurtt Tells of Moshik’s Characteristics by the Lines in His Hand” (p. 5). Hurtt read palms. The article reported, “About two months ago, shortly after John Moshik had been sentenced to hang for the murder of Remie Dicharme, Arthur Hurtt, the well-known scenic artist, obtained permission from Sheriff Phillips to visit the condemns man in his cell. Mr. Hurtt is an enthusiastic cheiromant, and he desired to examine Moshik’s hand. Jailer Diffield accompanied him to the cell, and the examination was made, Moshik displaying no unwillingness.

Mr. Hurtt examined the hand closely and took a print of it. He told Moshik of various incidents in his past life, and in every case his statements were corroborated by the man who, next Friday, is to pay the penalty of his crime upon the gallows.

He continued uninterrupted until he told of Moshik’s having rescued from drowning a few years ago.

“You told him that,” cried Moshik excitedly, turning to Jailer Duffield. “You are the only man who knew anything about it. It didn’t happen here, but I told you about it and you told him.”

He was assured that the two men had never met before, and form that time on dwelt with increased interest on what Hurtt told him. He had been forced to believe in what seemed to him miraculous knowledge of the man before him.

As already stated, this examination was made some two months ago, a fact which Jailer Duffield will corroborate, and perhaps the most remarkable thing which was disclosed was Mr. Hurtt’s opinion, expressed at that time, that Moshik would commit suicide about March 10. He warned Duffield that if great care was not taken the man would never live to be hanged. On March 8 Moshik took a spoon which he had sharpened for the purpose and attempted to sever the artery in his wrist, as already reported in The Times. Mr. Hurtt had been mistaken by just two days.

At the close of the examination Moshik asked:

“Do you think they are going to hang me?”

“I don’t see anything in your hand to indicate it,” responded Mr. Hurtt ambiguously.

“I don’t think so either,” responded the murderer, laughing. “I guess it’s all a joke.”

To a Times reporter, Hurtt said yesterday:

“When I examined Moshik’s hand there was nothing there to tell me that he was to be executed, but there was a line which said he was to die in prison, and another which announced it would likely be by his own hand. It is quite possible, however, that if I were to make the examination to-day I would find that the hand would tell me of his execution. The lines change rapidly, you know. It was merely an accident that the man did not kill himself. The intention was there. He simply did not know how to go about it; that’s all.”

For the purpose of better calling attention to Moshik’s peculiarities, Mr. Hurtt has contrasted his hand with that of Kelly, a murderer who was executed last year. Mr. Hurtt’s diagnosis of the two hands follows, just as he himself prepared it, shortly after the examination. The picture of Kelly’s hand was taken after execution:

“We have here two hands of two distinct classes of murderers: In the case of Kelly, executed March 1897, the hand of an impulsive, brutal nature. Note the thick, short fingers and thumb. The whole aspect of the hand impresses an intelligent mind as being thoroughly bad. Quite different is the hand of Moshik. This is the hand of a very unlucky man, not alone because of the fact that he was sentenced to hang. No matter what station in life or in what environments, he would have been with such a hand, an unlucky person – unlucky in whatever he undertook, sure to get the worst of it, as the phrase goes. Susceptible and easily influenced by those around him, he came into the world delicate in both mind and body. His mother was insane at the time of his birth and the headline shows that he has inherited insanity, and that this insanity will show itself at times under certain conditions, such as excitement or rage. However, the palm is pink in color, which denoted a bright, sanguine and hopeful nature. His is a rather square palm, with fingers a little mixed. He is versatile, has a considerable amount of mechanical skill and had he not been so unfortunate as to. Be thrown into a channel of life that he was, he would naturally have been polite, neat in dress, and punctual. Inapt in the professions, governed by the sciences, the owners of such hands excel in negotiation, They are industrious and industrial.

“The following are some of the principle events of his past life as shown in his hands, and which no doubt can be verified by Moshik himself. He was quite ill at the age of 5, nearly died with a fever at twelve and was sick again at 15. The different dates of imprisonment are indefinite but show that he spent just half of his life in prison. One term of nearly half a year was for a crime of which he was innocent. At the age of 20 his mind was at ease for about nine months, for at that time he had his liberty. A few years ago he came to near being drowned by attempting to rescue a drowning woman. He has some affection of the heart, as the line of his heart shows. He has loved a woman who has dark hair, dark eyes and is of medium height. He was engaged to be married, but the engagement was broken by another term of imprisonment, where he was terribly injured in the head.

“Kelly’s execution could have been foretold two or three years in advance of the event as the tendencies grew in that direction, and in his hand taken after death his execution is marked in no less than seven ways. But strange to say, Moshik, although under sentence of death, shows only the danger of execution, however, a certain sign in his hand says that he will die in prison.”

The following year, Hurtt made news again when the passing of Jim Knight made newspapers. On Sept. 23, 1900, the Minneapolis Daily Times announced, “Fall Hermit Passes Away. Demise of the Well-Known Character. ‘Mississippi Jim’ Dies at Hospital” (p. 11). The article began with “James Knight, better known as ‘Mississippi Jim, the hermit of Minnehaha,’ died at St. Mary’s Hospital yesterday, he was 70 years of age.” Of note, a paragraph reported, “Old Jim was found at death’s door two years ago by Arthur Hurtt, scenic artist. He discovered the old man on his bed, in a semi-unconscious sate but managed to resuscitate him.”  This account, combined with several others paint Hurtt as an empathetic and kind individual, willing to not only help, but understand those in need.

For the most part, Hurtt’s public presence in newspapers during the late-nineteenth century was primarily contained to Minnesota. In 1900, however, there was a subtle shift as Hurtt’s activities became recognized in neighboring states, including Iowa.

Hurtt’s drop curtain for the Pavilion Stage at Wildwood was also featured in The Saint Paul Globe on July 17, 1899 (p. 8)

Image of Hurtt’s drop curtain in The Saint Paul Globe, 1899.

On Oct. 21, 1900, the Minneapolis Daily Times reported, “Mr. Hurtt was born in Wisconsin less than forty years ago. His mother, a Virginian, was an artist and a lady of refinement. His father was a native of Massachusetts. Mr. Hurtt, when a wee toddler, used to climb up beside the table where the cook was kneading bread and imprint, with his baby finger, faces in the dough and draw on the kitchen floor attempts at pictures with a bit of coal. All through his boyhood he experimented with brushes and colors, and beginning in 1878 he devoted himself to fine art and has been a student in some of the best schools in the country. He accompanied his serious study with scene painting, which is a great school of itself, and thus he has had more than twenty years of experience in scene painting and stage decoration. In his scenic work he is considered to excel in foliage and landscape. That Mr. Hurtt is a man of vaudeville gifts is acknowledged. He studied architecture two years, and his pretty home in Minnehaha park was built under his supervision form plans and specifications made by himself. His drawings and studies of foliage and figures have been published in lithograph and are found in nearly all art stores and are much used by art students. Says the St. Louis Star: “Arthur Hurtt, the scenic artist formerly of this city, is one of the best young artists in the country. His foliage and figure painting being exceptionally fine.” He paints stationary stage scenery and drop curtains for opera houses and his work is also in demand by the great traveling star companies; but few of those visiting Minneapolis are without several scenes painted by Arthur Hurtt. The portrait accompanying this sketch represents him as he looks to-day – a very young man to be called “the father of art in Minneapolis,” but he was here before Douglas Volk came and was inspiration and help to Alexis Fournier when that now rising artist was a struggling student. Mr. Hurtt is proud of Minneapolis but the part of it dearest to him is the vicinity of his home – the beautiful park, Minnehaha creek, the glen, the old houses of some of his neighbors which are not less historic landmarks than are Minnehaha falls, the theme of legend and song. Mr. Hurtt travels widely. His scenic work is found in all parts of the country and everywhere he goes, goes the good work for the honored city of his adoption. He could give The Times but a brief interview; he was just home from a three months’ engagement at Des Moines and was starting out on another trip to keep him away six week. It is needless to follow Mr. Hurtt’s professional career. That he has been successful in owning his faithful, conscientious and steady application not less than to his natural ability His whole life has been influenced by stage art and though he is a picture painter in oils and watercolors and an illustrator of books, that which he has done most he does best and his reputation rests on his achievements in scenic art. That Minneapolis appreciates him is shown by the fact that of her theaters and opera houses five show his work. These are: People’s theater, Metropolitan Opera House, Grand Opera House, Bijou Opera House, Lyceum Theatre. From a list of other theaters and opera houses where he has painted, we select Boyd’s Opera House, Omaha; Broadway theater, New York City; World’s Theatre, Boston. From a list of stage productions extending from 1879 to 1898 he says he considers the following fair examples of his work: “Panorama of the Life of Christ, 500 life-size figures; “The Silver King.” “Hazel Kirke,” Erminie,” De Wolf Hopper’s “The Lady or the Tiger.” – Charlotte Whitcomb” (p. 24).

Reception room, studio-residence of Arthur R. Hurtt, Minnehaha Park. From the Minneapolis Daily Times 21 Oct., 1900, p 24.

The Des Moines project mentioned in the article was for thew Grand. On August 19, 1900, The Des Moines Register described Hurtt’s new drop curtain for the renovated Grand (p. 7). The article reported, “The gloomy interior has given way to light and cheerful shades, and the stage has been equipped with a complete new set of scenery of the latest design, technically known as “flipper scenery.” It can be placed wherever wanted on the stage, and does not require the use of wing grooves. The drop curtain, which was executed by Arthur Hurtt, is a remarkably strong piece of work. The subject was taken from Maurice Leloir’s famous tableau, “La Derniere Gerbe” [The Last Sheath of the Harvest].” Hurtt’s work was further described on Aug. 17, 1900, in The Des Moines Register “The subject of the drop curtain is ‘La Derniere Gerbe.’ And is from the celebrated painting of Maurice Leloir. The artist who executed the curtain, Arthur Hurtt of Minneapolis, has made a highly interesting copy, full of strength and details” (p. 3).

Of the renovation, The Des Moines Register reported, “The remodeling of the Grand opera house is now practically completed. The scenery and fittings are entirely new and render the Grand one of the prettiest houses in the state. The painting and frescoing were done by Arthur Hurtt of Minneapolis, while several of the curtains were made in New York” (16 Aug 1900, p. 3).

Link to illustration: https://upload.wikimedia.org/wikipedia/commons/b/b1/Leloir_La_derniere_gerbe_1883.jpg

Amazingly, I located a watercolor painting from 1890 of the same composition on Pinterest (no citation). Here is the link: https://i.pinimg.com/originals/e2/11/bb/e211bb797a83eda910af9422ea5eed6b.jpg

He was also making headway on a national front. On March 11, 1901, The Minneapolis Journal announced, “Arthur Hurtt Goes Abroad. Arthur Hurtt, the Minneapolis scenic artist, has been honored by being chosen as the representative of the American Association of Scenic Artists in the international association. He sailed for Paris on the Vaterland last Wednesday from New York. He will visit Germany, Switzerland, Italy and Norway in the interests of his art and will return about June 1. Mrs. Hurtt accompanies him” (p. 6). He returned to Minnesota on May 25. His return was published in the newspaper the very next day. On May 26, 1901, the Star Tribune announced, “Arthur M. Hurtt Returns from Extended Foreign Trip Where He Saw and Studied Much That is Valuable” (p. 7). The article reported, “the Minneapolis scenic artist returned yesterday morning, with Mrs. Hurtt from a three months’ trip through France, Belgium, and England. On the way back they stopped by the Pan-American Exposition, which in point of illumination and some other respects Mr. Hurtt says is truly remarkable. While abroad the artist was sketching, spending most of his time in and about Paris. He admires the beauty of the regal city as only an artist could, but he is still true to his colors, nevertheless, for he says the French women are not ‘in it’ with the American-made article.” Hurtt then proceeded to critique current Parisian dress.

On Jun 1, 1901, The Minneapolis Journal published an article announcing, “Minneapolis Artists Win Salon Laurels, Burt Harwood and Alexis Fourier Have Four Canvases Accepted for the Paris Salon” (p. 11). The article began, “There were 7,000 pictures entered at the Paris Salon for exhibition this spring, and of this 7,000 only 300 could be accepted, and of that possible 300 acceptances four came to Minneapolis men.” Hurtt was visiting Paris prior to the exhibition. His stay was mentioned: “Mr. Hurtt admired them himself and heard them highly praised by others…Mr. and Mrs. Hurtt were in Paris several weeks and saw the Minneapolitans resident there. Mr. Fournier was in the same hotel with them. Max Bohm and Mrs. Bohm (nee Miss Newcomb) had just returned from a two-month’s absence in Italy, and are at the Grand Hotel, Rue de Lambre.” His international role was recalled the following year when he began working for Lee Lash Studios in New York. Although

Hurtt was also associated with the Twin City Scenic Co. between 1902 to 1904. However, he never stayed with any one studio for long. His connection with both Sosman & Landis and Twin City Scenic Co. set a precedent for his relationship with Lee Lash Scenic Studio in New York.

On July 25, 1902, the Star Tribune announced, “Drawings for a Minneapolis Opera.” The article reported, “Arthur Hurtt, the scenic artist who was the representative at Paris of the American artists, has left Minneapolis for New York, where he goes to fulfil a three month’s contract with Lee Lash Company, scenic painters, at Thirty-ninth and Broadway. Mr. Hurtt takes with him the drawings and models for the scenes to the Madden-Day opera, ‘Niorada,’ and also the schemes for the three acts of ‘The Newest Woman,’ a new comedy by Oscar F. G. Day. Mr. Hurtt will meet Mr. Madden in New York” (p. 6). Hurtt sporadically worked for Lash until 1904.

Hurtt, like many scenic artists, not only painted scenery for theater stages, but also painted scenery for a variety of public displays. In 1904, he designed a panorama for the World Fair in St. Louis, Missouri.

On May 3, 1904, The Minneapolis Journal, published an article announcing, “A Realistic Panorama of Twin Cities and Fort. The Work, Partly Modeled and Partly Painted, Will Be an Important Feature of the Twin City Exhibit at the St. Louis Exposition.” A photograph of the work was included with the following article: “Minneapolis, St. Paul and Fort Snelling have been presented in a panorama which will probably attract the attention of thousands at the Louisiana Purchase exposition at St. Louis. The big canvas and the carefully modeled foreground was the work of the Twin City Scenic studio, located in the Bijou theater. The greater part of the drawing and work was done by Arthur Hurtt, a Minneapolis scenic artist. When properly illuminated, the panorama will be a beautiful one. In the foreground is a carefully modeled presentment of the Fort Snelling bluff and fort. The bridge across the Mississippi river at this point is faithfully reproduced in miniature and extends back to the canvas of the semi-circular panorama. As one faces the work, Minneapolis is seen in the distance to the left. The river winds down the canvas to hide itself behind the bluff of Fort Snelling in the foreground. It reappears to the right and takes a turn toward St. Paul. The curve is carried out with absolute fidelity to detail, and to the right the saintly city can be discerned. The whole color scheme is calculated to withstand the glow of numberless electric lights which will be concealed behind the model of Fort Snelling. This illumination gives the effects of great depth and distance, and in this feature the artist has done some remarkable work. The background is semicircular in form and requires great care in drawing and coloring. A Mistake in the slightest detail would have spoiled the perspective of the entire undertaking, but it has been successfully carried out. Those who were permitted to see the panorama in its unfinished condition, or, rather, without its hood, are anxious to see it after it has been prepared for the exhibition at St. Louis. The panorama will go in the Twin City pavilion at the St. Louis Fair. It was ordered by the joint committee of the two cities and is to be paid for from the funds raised in the two cities for advertising purposes at the exposition. The panorama was taken down and shipped to St. Louis, Monday, and will be in place on opening day” (p. 11).

Hurtt’s Panorama for the St. Louis Exposition, 1904.

Like many midwestern artists, Hurtt began accepting West Coast projects when the weather turned cold, spending winters in Los Angeles from 1904-1906. He was tentatively planning a move.

Over the course of the next few years as Hurtt continued to gain national recognition.  He continued to work from coast to coast. In January, his scenery for “The Sorceress” at the Temple Auditorium in Glendale, California, made the papers. On Jan 27, 1907, The Los Angeles Times featured a scene from “The Sorceress” (p. 79).

The caption read: “Mr. Ferris will revive this brilliant spectacle-play, this week, at the Auditorium. Miss Stone, who, of course, will play the title role, is especially adapted to the part, and is said to have scored unusual success in it in the east. Mr. Robson will be seen as Don Enrique, for him a congenial sort of character. The management promises, as far as scenery and costumes are concerned, a production of unusual splendor and effectiveness. The principal scenic artist, Arthur R. Hurtt, did most unusual work for “The Holy City” and has been preparing this setting for a long time.”

Hurtt’s work at the Temple Auditorium became a career-changing project. On March 9, 1907, The Los Angeles Times reported, “Glendale. March 8 – Arthur Hurtt the scenic artist busily engaged at the Temple Auditorium, has completed the purchase of a site upon which he intends to establish and art studio” (p. 24).

Jess D. Bonner pictured in the article.

Here is my post about Bonner:

Sosman & Landis: Shaping the Landscape of American Theatre.Employee No. 20 – Jess D. Bonner

Near the end of the year, Hurtt again made news in Los Angeles newspapers. He was called in to assist 28-yrs. old scenic artist Jess D. Bonner (1879-1914), painting four drops for “Sign of the Cross,” at the Auditorium. On December 8, 1907, the Los Angeles Herald reported, “There are fourteen scenes in this four-act play, and Mr. Bonner was called upon to turn them out in eleven days’ time. He has one assistant regularly employed – Maurice Tuttle – and a paint boy to help him. For ‘The Sign of the Cross’ production there was a total of 30,000 square feet of canvas to be covered and the task was too great. Consequently, Arthur Hurtt was called upon to assist, and Mr. Hurtt painted four drops, which will be shown for the first time tomorrow night. These drops contain about 1500 square feet of canvas each, leaving some 24,000 feet to be painted by Mr. Bonner and his assistant.” The entire article was primarily about Bonner but mention of Hurtt shows that he had remained in California for most of 1907. At the time he was 46 yrs. old, his wife was 41 yrs. old, and his adopted daughter was 17 yrs. old.

Although he continued to be listed in the Minneapolis Directory for 1908 and 1909, Hurtt established a new home at 1518 Mohawk in Los Angeles by 1910.

This remained Hurtt’s permanent residence for the remainder of his career. It was a good choice, as by 1920, his next-door neighbor was another former Sosman & Landis artist, Fitch Fulton. Although much older than his neighbor, Hurtt shared many of the same Midwestern connections as his neighbor.

Although Hurtt continued to be listed as a scenic artist in LA Directories, his easel art remained a constant in various gallery exhibitions. He even received a bronze medal at the Southern California Art Exhibition, Southern California Panama Exposition, 1915 San Diego. In 1918 he was included in the publication “Who’s Who in Art,” listed as an illustrator with a brief biography:

“Hurtt, Arthur R., 1518 Mohawk St. Los Angeles, CA.

P., L.- Born in Wisconsin, Oct 31, 1861

Pupil of Douglas Volk. Member: Cal. AC. Award: Bronze medal, Pan-Cal. Exp., San Diego, 1915” (p. 519). Other former scenic Sosman & Landis scenic artists in the publication included: Thomas G. Moses P. Member, Walter C. Hartson, Frank C. Peyraud, and Victor Higgins.

Concerning Hurtt’s scenic work in California, he became associated with E. H. Flagg. Both his 1916 and 1918 LA Directory listing noted E. H. Flagg Scenic Co. as his employer. I have written about this well-known firm in the past, as several former Sosman & Landis employees also worked for Flagg over the years.

Edwin H. Flagg, from March 12, 1919, Los Angeles Evening Post.

1921 advertisement for Flagg’s studio.

There is much of Hurtt’s Californian life and career that remains unknown. I have also yet to locate anything about his adopted daughter after 1904. What I do know is that Hurtt passed away in relative obscurity.  After living a life where so many adventures published in the news, his obituary was quite brief.

On 11 Jan 1938 The Los Angeles Times announced: “HURTT, At 1518 Mohawk street, Arthur R, Hurtt, beloved husband of Winifred Hurtt. Funeral services today at 10 a.m. from the chapel of W. A. Brown, 1815 South Flower street” (p. 40)

Although a few of Hurtt’s artworks are listed in online sales, there are precious few examples of his painting. This is what makes his street scene so very significant. It is likely the last remaining example of Hurtt’s scenic art legacy.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

The Theatre Museum of Repertoire Americana when we left work on January 13, 2024.

On January 7, 2024, I drove from Minneapolis, Minnesota, to Mt. Pleasant, Iowa. My project was to catalogue a portion of the vast scenery collection at the Theatre Museum of Repertoire Americana. Located in southeastern Iowa, this unique museum is “dedicated to the preservation of memorabilia and artifacts of early repertoire theatre.”

Here is a link to their website http://thetheatremuseum.com/

The Theatre Museum resulted from a memorabilia exhibit displayed at the Midwest Old Threshers Reunion and Iowa Wesleyan College in 1970. Local enthusiasm fueled discussions to build a Theatre Museum on Old Thresher Reunion show grounds. On September 1, 1973, the Theatre Museum of Repertoire Americana was dedicated, and is currently situated at the north end of the show grounds. I. must mention that most of the credit for this entire endeavor goes to the promotional efforts of Caroline Schaffner (Neil & Caroline Schaffner Players), Jimmy Davis (6-yrs. member and 35-yrs. owner of the Schaffner Players), Helen Virden, and Joe Mauck.

The exterior of the Theatre Musuem is intended to simulate a nineteenth-century opera house.

My photograph of the Theatre Museum Building, March 2017.

Over the years, a variety of theatre artifacts were donated to the museum, necessitating two major renovations. In 2000, the Caroline Schaffner Research Library was added to the building. This archival space is packed full of rare scripts, correspondence, tour schedules, production photos, and a large collection of videotaped interviews with performers describing their touring experiences.

There is much, much more to discuss about the Theatre Museum’s origin, but I am going to pause here.

Displays at the Theatre Museum include a variety of scenery, costumes, machinery, touring trunks, play bills, show cards, advertising sheets, playbills, musical instruments, and more. Here are a few photographs of museum displays from my most recent visit.

Display cases in front of two 1875 shutters painted by Harry Dressel for Steyer’s Opera House in Decorah, Iowa.

Interior book flat delivered by Iowa scenic artist Jesse Cox in front of an Ad Drop painted by Iowa scenic artist Hugh Lanning (for the Blakesburg Opera House) in 1905.

There are many aspects that make this museum that make it internationally significant. However, it is their association with the Midwest Old Threshers Reunion (Old Threshers) that I find the most remarkable.

To clarify this relationship: Old Threshers owns the museum, but it is run by a museum board.

(Click here for more information about the upcoming Reunion)

Now you may wonder, “What is an old threshers reunion?”  Let’s start with a thresher. A thresher, or threshing machine, beats the kernels from grain heads. This is a necessary step in the process of preparing grain for market. In the Midwest, many farmers gathered their resources to hire a threshing machine at harvest time. Threshing was an annual, or bi-annual, affair (depending on region) that gathered communities together for a common purpose. The result of their labors made it possible to ship large amounts of grain to flour mills and other processing plants across the country. For those who want to know about the evolution of the thresher, here is a link: https://www.farmcollector.com/steam-traction/evolution-of-the-thresher/

A Minneapolis Threshing Machine in front of chaff (the covering and other debris separated from the kernal when threshing grain).

Harnessing a steam engine’s power.

Although this is a far cry from current agricultural practices, it marked a culturally significant events for farmers. Threshing reunions celebrate agricultural technology from the nineteenth-century through mid-twentieth century. In addition to tractors and farming equipment these shows feature other aspects of farm life, including innovative technology and cultural artifacts from metropolitan areas too.

Also referred to a “steam shows,” the main feature are rows of tractors, with the earliest examples powered by steam. There is nothing quite like watching a massive steam tractor slowly puff across a field or power a threshing machine. It is a multi-sensory experience that instantaneously transports you back to another time and place. It provides contexts for all those American History classes that examined rural communities. If the show grounds include a steam engine that puffs along on a few miles of track, old-time music, vintage-clothing style show, it is magical.

I have been a member of the Western Minnesota Steam Threshers Reunion (WMSTR) since 1972. Here is their link and a few pictures from 2023: https://rollag.com/

My son and mother playing music in the WMSTR mercantile building, 2023.

My dad and husband working as conductors on the 353.

My dad has been the WMSTR Hobo for three decades.

Sadly, both WMSTR and the Midwest Old Threshers hold their reunions at the same time – on Labor Day Weekend.

Threshing shows are extremely affordable, with a four-day pass costing approximately $30.00. Both volunteers and visitors often camp on, or near, the show grounds for the entire event. This creates a tight-knit community over the years, fostering many life-long friendships.

Threshing shows offer something for everyone in the family, but the inclusion of a theatre museum makes the Midwest Old Threshers Reunion unique.  As in days past, the museum offers respite to those weary from spending the day outside. In fact, it is a natural pairing that many fail to realize; the bringing of theatrical entertainment to rural activities.

As America’s network of transportation expanded throughout the second half of the nineteenth century, performance venues rapidly appeared throughout the Midwestern States and Western Territories. Scenery was delivered to stages in buildings titled Opera House, Opera Hall, Academy of Music, Museum, and Atheneum. Town halls, city halls, lodge rooms, saloons, and academic institutions. These spaces included stages, often with complete sets of scenery. The construction of a stage, regardless of the building’s name, signaled the success of a rural community. It signified that there was a social space to not only host a variety of community events, but also serve the needs of touring entertainments. For farming families, it was an opportunity to connect with their neighbors and in-town residents. Overall, it fostered the sense of community and provided a network of support for many individuals otherwise isolated on distant homesteads.

The Theatre Museum’s scenery collection includes scenery dating as early as 1875.  Painted compositions for the stage feature the works of many well-known studios, including Sosman & Landis, Kansas City Scenic Co., Twin City Scenic Company, Joy & Cannon Scenic Company, and Universal Scenic Company. Some pieces are even signed and dated, signifying the only surviving scenic artworks by well-known scenic artist’s Arthur R. Hurtt and Harry Dressel. There is also an extensive collection of the Diamond Dye scenery painted Jesse Cox, founder of Cox Scenic Studios in Estherville, Iowa. The Theatre Museum of Repertoire Americana houses the greatest variety of late-nineteenth century and early-twentieth century scenery on display in North America.

Studio label on back of a drop recently documented at the Theatre Museum of Repertoire Americana.

Jesse Cox’s paint table on display in front of a dye drop.

During my stay, I documented far more than 50 drops, and there are dozens of wings and interior flats to go, with some dating as early as 1875. Despite, two blizzards and sub-zero temperatures, the trip was extremely successful.  Keep in mind, that I was born and raised in Minnesota. I am very familiar with driving in near white-out conditions and have snow tires on my car. However, I am always hesitant to put myself in harm’s way on a winter road.

On Sunday, January 7, 2024, I drove from Minneapolis, MN, to the home of my host in Washington, Iowa, where I stayed at the home of Theatre Museum president, Monie Hayes.

He was my timeline for the week:

Day 1: On Monday, January 8, we both drove the 40-min. trip to Mt. pleasant, Iowa. That day we were able to unroll and document ten drops. Our primary focus was unlabeled scenery stored in the basement, above the stage and on the walls. The basement of the museum is another display area with small stage.

Day 2: On Tuesday, January 9, the first blizzard hit, dumping about 15” of snow where I was staying. It was an intense storm system that paused and spiraled around Washington. We called work off for that day, so I started compiling my report. Sadly, this delay meant extending my stay.

Screen shot of my weather app radar on Jan. 9, 2024.

Day 3: On Wednesday, January 10, I drove down the Mt. Pleasant, where we repeated the process, slowly unrolling, or unfolding, one scene at a time.

Day 4: On Thursday, January 11, I relocated to the home of another board members, Leigh Bradley, in Mt. Pleasant. I needed to be in town and not commute 40 minutes to an from the job site. My decision was based on the forecast of another blizzard. This storm was now combined with sub-zero temperatures. Iowa had again issued a no-tow order, meaning that travel was at your own risk; tow trucks would not be sent out to rescue stranded cars. As I was now staying only a few miles away from the Museum, we continued cataloguing scenery.  The second storm was scheduled to start at 9PM that evening. After work, we all headed out to dinner at a local restaurant. These are the moments that make everything worthwhile; getting to know the people who are passionate about preserving there scenery collection.

Part of the week-long team included Richard Finkelstein. He had driven 14 hours to join me on site and photograph this remarkable collection.  As always, I am amazed with Richard’s talent, knowledge, and generosity.  It was such a delight to work with him again. Our last project was at the Scottish Rite in Richmond, Virginia when I packed up and moved that Masonic scenery collection to Tucson, Arizona, in January 2021.

Richard Finkelstein working at the Theatre Museum of Repertoire Americana.

Wendy Waszut-Barrett and Richard Finklestein at the Theatre Museum of Repertoire Americana.

Our workspace in the basement. Platforms and chairs were moved in the auditorium to lay out the backdrops.

Signature on corner of a Front Curtain (shown above), painted at the Twin City Scenic Co. in 1915.

Days 5 and 6: The back-to-back winter storm and second blizzard warnings for January 12 and 13 meant that there were only two volunteers who could show up. In many ways, these were my two favorite days on site.

Day 7: By Sunday morning, I recognized that I was going to be stranded in Mt. Pleasant another day. Again, there was a no-tow order, and I was unwilling to chance the 5-hrs. drive north; some roads were still impassible due to snow and ice.

Day 8: In the end, I left early Monday morning, and made it home by late afternoon. The anticipated 5-hrs. drive lasted much longer due to poor road conditions and slow speeds.

Iowa roads after the storms on January 15, 2024.

Here are a few images from my adventure.

1875 Shutter painted by Chicago scenic artist, Harry Dressel, for Steyer’s Opera House in Decorah, Iowa.

Detail from a drawing on the backside of Dressel’s shutter.

Detail of Grand Drapery Border paint by Sosman & Landis Scenic Studio, delivered to Mineral Point, Wisconsin.

Painted detail from dye drop painted by Jesse Cox of Estherville, Iowa.

Painted detail from dye drop painted by Jesse Cox of Estherville, Iowa.

Painted detail delivered the the Quoque Community Hall in Long Island, New York.

Painted detail by Sosman & Lanids studio artists for the ZCBJ Lodge Hall Front Curtain in Oxford Junction, Iowa.

Painted detail from a “Yankee Doodle” scene used by the Jack & Maude Brooks Stock Co.

Painted detail from a 1918 Ad Drop.

Stage screw and stage jack on display the the Theatre Museum of Repertoire Americana.

Border lights from the Blakesburg Opera House on display at the Theatre Museum.

The next few posts will explore some of the more significant scenery in the collection, starting with Arthur R. Hurtt’s street scene. I am posting some of my research while I complete condition reports, replacement appraisals, and a Collections Care Management document for the Theatre Museum of Repertoire Americana. In an effort to generate support for the Theatre Museum, I will share some of the most significant artifacts in the scenery collection.

Please consider becoming a member of the Theatre Museum. The annual fee is only $20 ($15 for students). Your support sends a message to the Midwest Old Thresher’s Reunion and the Mt. Pleasant Community that the Theatre Museum is important and should remain open. Here is the link to contribute: http://thetheatremuseum.com/membership

To be continued…

Copyright © 2023 by Wendy Waszut-Barrett

The spring of 1885 to the spring of 1886 was a significant period in the development of Sosman & Landis. They not only constructed a new studio building, but also diversified their business interests, establishing a panorama company. For the next decade Sosman and Landis tried their hand a variety of businesses, including lighting equipment, theatrical management, stock companies, and pottery.

Location

The studio building that Sosman & Landis leased in 1879 was located at 277 and 279 South Clark Street. They rented space alongside many other tenants in a large building at the northeast corner of Clark and Van Buren streets.  They were situated one block east of the Rock Island Depot and two blocks north of the Dearborn Station, as well as being near two public transit lines.

There were a variety of nearby entertainment venues, employing dozens of scenic artists. Theaters located just a few blocks to the north of the studio included Haverly’s Theatre, McVicker’s, Hooley’s, the Chicago Opera House, the Grand Opera House, and the Olympic Theater. A few blocks to the south was the People’s Theatre and Park Theatre.  Three panorama buildings were also nearby. Two were a few blocks southeast of the Sosman & Landis studio: the Battle of Gettysburg in the National building and the Siege of Paris in the American Panorama Building. The third panorama was a few blocks northeast of the studio. The Battle of Shiloh was featured in the newly-constructed World Panorama building on Michigan Ave.

To the north of Sosman & Landis’ Clark Street Studio.

To the south of Sosman & Landis’ Clark Street Studio.

The Popularity of Panoramas

I am going to briefly touch on these three panoramas that were delivered between 1883 and 1885, as they were likely the instigator for Sosman and Landis to establish the Grant Panorama company. The most popular subject matter in the United States quickly became Civil War subject matter.  From a timing perspective, we are twenty-two years away tragic events of 9/11 in 2001. 1885 was twenty-two years away from the height of the Civil War. Both were still in the forefront of public memory for many Americans.

In 1879, a group of Chicago investors commissioned Paul Philippoteaux to create a Battle of Gettysburg panorama. This is the same year that Sosman & Landis moved to their studio on Clark Street. City residents were familiar with Philippoteaux’s work, as “Paris by Moonlight” had been exhibited in Chicago in 1875 (Chicago Tribune 21 Oct 1883, page 4).  It took four years from conception to the opening of the Battle of Gettysburg panorama. In the fall of 1883, advertisements credited the work to Philippoteaux, Joseph Bertrand, and Lucien Sargent. The panorama’s popularity soon prompted another Philippoteaux panorama. On June 20, 1884, the Siege of Paris opened across the street from his Battle of Gettysburg (Inter Ocean 20 June 1884, page 8).

The two panorama buildings that once house the Battle of Gettysburg and Siege of Paris. Link to 1890 image posted to Chicagology: https://chicagology.com/?s=cyclorama

Another photograph showing the location of the two panorama buildings when facing south. Link to 1912 image posted to Chicagology: https://chicagology.com/?

A third panorama opened in Chicago the summer of 1885. Credited to French artist Théophile Poilpot (1848-1915), the Battle of Shiloh panorama’s progress continued to make newspaper headlines. On April 30 of that year the Chicago Tribune announced “Though not yet 35 years of age, [Poilpot] has visited some part over every country on the civilized globe, and his travels crossed the equator eight times. He arrived in this country last fall and went direct to ‘Hornet’s Nest,’ the scene of Shiloh, where he devoted several months to the study of the battlefield” (page 8).

Battle of Shiloh Advertisement in the Chicago Tribune on July 31, 1885.

To my surprise, I recently discovered photographs of the Battle of Shiloh Panorama Guide at rare bookseller’s website. Here is the link: https://www.jamesarsenault.com/pages/books/4947/l-b-crooker-mapmaker-f-j-mcintosh/manual-of-the-panorama-of-the-battle-of-shiloh-michigan-avenue-between-madison-and-monroe-streets?soldItem=true

On August 1, 1885, The Inter Ocean reported “The Battle of Shiloh panorama adds another splendid battle piece to Chicago’s attractions. The painting and direction of the work have been accomplished by T. Poilpot of Paris, who., thanks to the enterprise and liberality of local capital, has been given every advantage for the projection and perfection of the titanic pictures. Mr. Poilpot is an artist who has a large experience in similar works on a large scale, having painted in Paris ‘The Taking of the Bastille;’ ‘The Charge of Reischoffen’ (franco-Russian war), and ‘Busenval’ (episodes of the siege of Paris). In London he painted the ‘Charge of Baklava;’ and in Russia, ‘The Crossing of the Danube.’ ‘The Battle of Shiloh’ is his first distinctive American work, and he is now engaged upon ‘The Battle of Manassas,’ and will shortly commence the famous marine fight of Monitor and Merrimac.” The article continues, heralding Poilpot’s skill and painted details in “The Battle of Shiloh.”

What Chicago investors realized between the summer of 1884 and 1885 was that there was much more of a demand for tickets to the Battle of Gettysburg than the Siege of Paris. Chicago residents were more interested in Civil War battles, than foreign wars.  I am going to pause here and remind readers that many of the well-known scenic artists working in Chicago at this time had fought in the Union Army during the Civil War. This included both Sosman and Landis, as well as several of their staff members.

Panoramas remained a risky investment. However, when they succeeded,  investors reaped large profits. There were a surprisingly number of panorama companies that appeared during the 1880s. By 1883, panorama companies began to pop up all over the region. On Nov. 15, 1884, the Wisconsin State Journal reported, “New Organization – The Northwestern Panorama company, of Milwaukee, filed articles of association with the secretary of state to-day, the capital stick being $25,000. The object is to give panoramas and other entertainments” (page 4). Located on Cedar Street, the firm was operated by scenic artists Louis Kindt and Thomas Gardner.

Louis Kindt’s Panorama Company

On November 17, 1884, the “Milwaukee Letter” section of Minnesota’s The Saint Paul Globe, announced, “Paul Bechtner, Otto Osthoff and Louis Kindt have incorporated the Northwestern Panorama company and will soon erect in this city a building of the same style and size as that occupied by the ‘Battle of Gettysburg,’ at Chicago. The panorama to be exhibited will be the battle of Vicksburg, with two contending armies and the gunboats on the Mississippi river. Mr. Kindt is a scenic artist and has taken sketches at the scene of the battle. He is the artist who painted the picture of the battle of Lookout Mountain, now on exhibition in the exposition building” (page 2).

Kindt had made a name for himself as a scenic artist in Wisconsin, Illinois, and Ohio, beginning in the mid-1860s. He was listed as a painter of theatrical scenery in Milwaukee, Cincinnati, and Chicago Directories. In Chicago, Kindt was employed as a scenic artist at the same time as Henry Burcky, Joseph Hart, Thomas McGann, Louis Malmsha, Ernest Pappineaux, Harry Ribbet, and J. Howard Rogers were associated with various theaters there.

In 1884, Kindt had organized a panorama company in Milwaukee, while continuing work as a scenic artist throughout the region. The size of a panorama was certainly not daunting to scenic artists. In fact, in 1890 Sosman & Landis delivered a cyclorama to the Broadway Theatre in Denver, Colorado. Of the project. Moses wrote, “I painted my first cyclorama sky backing, forty feet high and 395 feet long. There were three different skies. The cyclorama was operated from the fly gallery. We had no borders, all exterior settings were painted on set pieces which carried out the same arrangement that was used in the auditorium of Chicago

Kindt’s Siege of Vicksburg panorama was approximately this same size. Scenic studios were designed to accommodate huge panoramic pieces. Unlike a rotunda building with permanently positioned canvas, necessitating that the artists move from one scene to another. Scenic studios moved the fabric, and not the artists. It was common for a larger spool of fabric to gradually unroll. Each section was tacked to the frame and painted. This section was then released and spooled on the opposite side of the frame – like a moving panorama.  This is because the scenic artists for the theatre used distemper paint and not oil paint. Like constructing a moving panorama, distemper paint allows the fabric remained lightweight and pliable. This also means that a distemper panorama can easily be shipped from one location to another.  When panoramas were produced with oil paints, moving them becomes a logistical nightmare due to the weight.

It is no wonder that Sosman & Landis constructed a studio in 1885 that could accommodate their own version of a Grant’s Trip Around the World panorama. The footprint of their new two-story building was 44’-0”x 150’-0”.  This space could have easily accommodated the production of a panorama when shifted along the paint fame from one fabric spool to the next.

Back to Kindt’s Vicksburg panorama…

On Dec. 10, 1884, The Oshkosh Northwestern announced, “Louis Kindt, the scenic artist, formerly a resident of this city, is one of the projectors of the Northwestern Panorama Co., recently organized at Milwaukee with a paid capital of $25,000. Mr. Kindt and several other artists are now engaged on a panorama representing the siege of Vicksburg, which ended by the surrender of the city, July 4, 1863. It is 400 feet long and 36 feet high. When completed it will be placed in a new building to be erected for that purpose. Mr. Kindt has charge of the scenic work for the Opera House and Turner Hall of this city and his reputation is a guarantee of success in his undertaking. He spent some time at Vicksburg recently and no doubt will produce a life-like representation of the scene” (page 3).  I was especially interested that Kindt worked for the Oshkosh Opera House. This was the same venue that both Moses & Graham and Sosman & Landis bid on stock scenery for in 1883. Awarded to Moses & Graham, it was at this point that Moses, Lemuel L. Graham and John H. Young returned to the Sosman & Landis studio.

Interestingly, a second Northwestern Panorama Company opened the next year. On Oct. 11, 1885, The Saint Paul Globe announced, “Articles were yesterday files with the register of deeds incorporating the Northwestern Panorama company, with a capital stock of $200,000, and a liability of $5,000. The incorporators and directors are John Watson, Robert C. Kalkoff, George H. Eastman, George G. Jacoby and T. J. Buxtow as incorporators” (page 3).

The appearance of tis second firm may have been the incentive for Kindt to change the name of his panorama company from the Northwestern Panorama Company to the United States Panorama Company.  On Sept. 12, 1885, The Oshkosh Northwestern reported, “The United States Panorama Co. is breaking ground to-day on Algoma St. to exhibit the Battle of Gettysburg, painted by the well-known Mr. Louis Kindt, at one time a citizen of Oshkosh, who has also painted the battles of Vicksburg and Lookout Mountain” (page 3). Earlier, the Wisconsin State Journal had reported, “The most attractive thing at the fair this year will be the Battle of Gettysburg, brought here under great expense. This picture represents a battle of July 2^nd, 1863, and is about 75 feet in length and 39 feet in height; was painted by the most skillful artists in the country under the supervision of well-known Louis Kindt, the painter of Vicksburg and Lookout Mountain. The management will save no expense in making the foreground and surroundings of the picture as natural as possible. No one should fail to see it, because without having been seen it cannot be conceived” (page 4). It is interesting to read how much smaller this panorama is from his previous one that measured 400 feet long.

Kindt’s panorama company was established shortly after German-born Chicago businessman, William Werner opened the American Panorama Company; both were in Milwaukee. During the spring of 1885, Werner staffed his panorama studio with well-known European artists. The size of Werner’s staff rivaled that at Sosman & Landis during this time.

A photograph of Werner’s staff at the American Panorama Company studio building, 1887.  Panorama artists: (from the left, standing) Franz Bilberstein, Richard Lorenz, Johannes Schulz, and Bernhard Schneider; (from the left, sitting) Wilhelm Bernhard Schroeder, Franz Rohrbeck, Friedrich Wilhelm Heine, Karl Frosch Thaddeus Zukotynski, George Peter, Amy Boos, August Lohr, and Herman Michalowski. Here is the link to the Wisconsin Historical Society image: https://www.wisconsinhistory.org/Records/Image/IM26069

Unlike Kindt, or Sosman & Landis, Werner solely focused on the production of panoramas. Between 1885 and 1889, the American Panorama Company produced eight panorama paintings at the Milwaukee Studio. His is a link to a short paper about Werner and his firm for more information: http://www.germanamericanpioneers.org/documents/WhathappenedtothePanoramaPainters.pdf

When considering the production of panoramic works at this time, it is not hard to recognize that most artists were Europeans, those recently brought to the United States for this work. These were not individuals interested in permanently moving and becoming naturalized citizens. Such was the case in many other trades at this time.

Immigrant Labor

I also need to mention the 1885 Alien Contract Law, also known as the Foran Act. The first section stated, “It shall be unlawful for any person, company, partnership, or corporation, in any manner whatsoever, to prepay the transportation, or in any way assist or encourage the importation or migration of any alien or aliens, any foreigner or foreigners, into the United States, its Territories, or the District of Columbia, under contract or agreement, parol or special, express or implied, made previous to the importation or migration of such alien or aliens, foreigner or foreigners, to perform labor or service of any kind in the United States, its Territories, or the District of Columbia.” Here is a link to the full act: https://immigrationhistory.org/item/foran-act-of-1885-aka-alien-contract-labor-law/

This basically described what Werner and other companies were doing, except there was a loophole for the entertainment industry. The legislation specified unskilled labor. Exceptions were made for skilled labor, such as artists or performers. Many theatre practitioners were not thrilled about an influx of competition, even when they are also foreign-born. In fact, in 1888, English scenic artist and actor, Harley Merry, joined Edwin Booth and Lawrence Barrett in the Actor’s Order of Friendship to lobby against the wholesale importation of foreign actors and touring companies.

Image of H. Merry in 1886.

Merry was later instrumental in establishing the American Society of Scene Painters. In 1892 the organization was established in Albany, New York, with the executive staff consisting of Richard Marston (Palmer’s Theatre), Henry E. Hoyt (Metropolitan Opera House), Homer F. Emens (Fourteenth Street Theatre), Sydney Chidley (Union Square Theatre), Harley Merry (Brooklyn Studio) Brooklyn and Ernest Albert (Albert, Grover & Burridge, Chicago). Keep these names in mind, as you read the rest of this post about 1885. Keep these names in mind as you read the remainder of this post.

Back to 1885. This year, there are three panoramas on display painted by foreign artists. Werner has brough over an entire team of foreign artists to staff his panorama company in Milwaukee. Kindt is producing his third panorama. Two panoramas depicting General Grant’s Trip Around the World are planned in Chicago.

General Grant’s Trip Around the World

On June 11, 1885, the Chicago Tribune reported, “A license was granted at Springfield yesterday to incorporate a panorama company made up of Chicago men whose object will. Be to exhibit a series of gigantic views illustrative of scenes of Gen. Grants trip around the world. The incorporators are Frank C. Bromley, the artist, John H. Atkinson, and John V. A. Weaver. Mr. Bromley, who was seen yesterday, said that the project was already advanced to a certainty for the near future, although many essential details are still unarranged. In a general way the scheme is sufficiently outlined above. Mr. Bromley will contribute some of the views form sketches of his own made during the extensive travel over the scenes covered by Gen. Grant. The rest will be gathered from various sources. It is not yet determined whether the canvases will be housed in a permanent building or arranged for transportation to different cities” (page 8). For context, Bromley frequently exhibited artwork at with other Sosman & Landis employees at Louderback & Co. Galleries, only a few blocks away.  In fact, Thomas G. Moses collected works by Bromley for his own home. In 1885, Bromley lived at 78 Monroe, just three blocks north of the Sosman & Landis studio on Clark Street.

About the same time that Bromley began his Grant Panorama project, Sosman and Landis also began to plan for their own version. This was the same summer that Poilpot’s Battle of Shiloh panorama opened in Chicago.

Sosman and Landis’ Grant Panorama Company

At the beginning of 1886, Sosman & Landis moved into their newly-constructed studio on Clinton Street. The first project was a panorama. Sosman & Landis employee, Thomas G. Moses wrote, “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.”  On March 31, 1886, The Inter Ocean announced the following their new company in the “Embarking Upon Business Section” (page 6). The announcement stated, “The Grant Panorama Company, at Chicago, to exhibit a moving panorama of scenes in the life of the history of General U. S. Grant; capital stock, $50,000; incorporators, Charles S. Gillespie, Perry Landis and Joseph Sosman.” Although the firm’s first studio on South Clark Street was in an ideal location, there was simply not enough space for their ever-increasing workload, or something on the scale of a panorama project. They needed a building specifically designed for the manufacture of painted scenes.

The General Grant Memorial Park

It is understandable that two firms came up with the same idea when one considers the popularity of panoramas in Chicago and the City’s plan for the General Grant Memorial Park. In 1885 donations were collected for the park. Donors to the cause were individually listed in local newspapers. Companies were also named if several employees donated to the cause. Such was the case with Sosman & Landis in August 1885.

On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund:

Sosman & Landis         $10.00

Thomas G. Moses       $2.00  

Henry J. Buhler            $2.00  

David A. Strong           $1.00  

George W. Dayton      $1.00

J. C. Evans                   $1.00  

Karl Boettger               $1.00  

Frank E. Gates             $1.00

John Moore                $1.00   

Edward Loitz               $1.00

C. W. Carey                 $1.00  

C. M. Crouse               $1.00   

Frank Lewis                 $1.00

William Martin            $0.50  

Frank Ford                   $0.50   

B. P. Lee                      $0.50  

Julius Fehrman            $0.50

Fred Miller                  $0.50  

Hugo Schoessling        $0.50

Mrs. J. S. Curran          $0.50  

Ed Donnigan               $0.25

Kirke W. Moses           $0.25  

I have written biography’s for this entire list of individuals. Just use the keyword search function. The firm’s donation was also noticed by Sosman’s hometown newspaper. On Aug. 6, 1885, “The Macomb Journal” reported, “We see by the Chicago papers that Sosman & Landis, scenic artists, and their workmen, made up a subscription of $19 to the Chicago Grant monument fund” (page 4).

I am going to provide some financial context for the General Grant Memorial Park donations in 1885. The average prices for food that year: meat was 12 cents a pound; eggs were 17 cents per dozen; bread was 5 cents per loaf; sugar was 8 cents per pound; potatoes were 45 cents per bushel, and soft coal was $2.95 per ton. $1.00 in 1885 has the equivalent purchasing power of approximately $31.00 today. However, considering average annual earnings at the time, $1.00 was not insignificant. In fact, the average annual wage in the United States for 1885 was $589.00.  For more information about wages in the US from 1880-1889 visit: https://libraryguides.missouri.edu/pricesandwages/1880-1889

With all of this in mind, Thomas G. Moses earnings at Sosman & Landis were $3,050 in 1884 and $2,975.00 in 1885, well above the average.

The Sosman & Landis employee donations provide a wonderful snapshot of who was working in the main studio at the time. In addition to the 21 Sosman & Landis employees listed above, there were at least 15 other individuals working for the firm that year who did not donation at this time. Also, other than Mrs. J. S. Curran, I have yet to identify any individuals who were working in the sewing rooms and office. She could not have been the only seamstress when considering the amount of scenery that was being produced in 1885.

All told, there were at least 36 employees at Sosman & Landis in 1885, not including the two founders of the firm.

Other 1885 Sosman & Landis staff members included Charles Landis, James M. Wood, Charles Ritter, David Strong, Henry C. Tryon, Edward Loitz, Edward Morange, Hardy Maratta, John H. Young, Henry C. Barrow, Charles S. King, Charles E. Boyer, C. D. Baker, Frank Ford, and Frank Gates. It is very likely that these individuals were on the road at the time that donations were collected. Gates had joined the force that summer, leaving his position at Pope’s Theatre in St. Louis, Missouri. On July 12, 1885, The St. Louis Globe-Democrat reported, “Mr. Frank Gates, who has been the scenic artist for Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself to Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). On Aug. 15, 1885, the St. Louis Post-Dispatch announced, “Frank Gates is with Sosman & Landis, of Chicago” (page 12).  Later Gates partnered with fellow 1885 Sosman & Landis scenic artist, Edward Morange. Gates & Morange settled in New York, becoming an extremely well-known Broadway Design Team.

A Gates & Morange advertisement in 1902.

This was a very significant time in American Theatre History, as scenic artists and stage carpenters from all over the country began working for the same firm.  In many ways, Chicago became a melting pot of stage craft. This gathering of talent and meeting of minds resulted in a variety of events that highlighted members of the scenic art community. A new exhibit was being planned to showcase the talents of American scenic artists in Chicago.

The Scene Painter’s Show

In 1885 the American Scenic Artist Exhibition was conceived, planned, and exhibited. Newspaper announcements specified that all artworks for the exhibit “must be painted in distemper color – scene painting fashion” (Detroit Free Press Sept. 7, 1885, page 5).

The announcement of the exhibit was published on the same page that featured Poilpot’s new panorama. On August 1, 1885, The Inter Ocean reported he 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 those artists present were Ernest Albert, John Mazzanovich, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. Burcky, Charles Ritter and others” (page 4). Parker’s Galleries, soon to be known as Louderback & Co. Galleries, was located on Wabash Ave., less than two blocks south from Poilpot’s panorama. In fact, it was halfway in between the panorama building and the Sosman & Landis’ Clark Street studio.

A series of articles advertising the upcoming exhibit were published in newspapers across the United States. For example, on Aug. 23, 1885, The San Francisco Examiner reported, “A very good move has been set on foot in the interest of art in Chicago by a number of gentlemen who propose to arrange for an exhibition of works in distemper, the contributors to be exclusively scenic artists. The exhibition will be held at Louderback & Co.’s galleries, No. 215 Wabash avenue, Chicago, commencing September 22d, and continuing for two weeks. The pictures are to be all original, but there is no restriction to subject, and they must all be sent in not later than September 15^th. The managing committee includes the names of David Strong, John Mazzanovich, Ernest Albert, Walter Burridge, Thomas Moses, Henry Tryon, George Dayton, Charles Ritter, John Young, and William Petford. The art of scene painting has in these days reached a very high plane, and probably its results gratify even a greater number of people than those who visit art galleries. Such an exhibition as that indicated in the above announcement will assuredly contain many very interesting examples, as in addition to the painters whose names appear as members of the committee, there will probably be contributions from the brushes of Marston, Clare, Voegtlin, Goatcher, Hoyt, Witham, Halley, Duflocq, Roberts, Merry, and many others – Chicago News Letter “(page 7).

On Sept. 7, 1885, the Detroit Free Press reported, “Robert Hopkin is at work on two water colors, which he will send to the scenic artists’ art exhibition at Chicago. All contributions to this exhibit must be in by the 15^th inst., and all must be painted in distemper color – scene painting fashion. The show promises to be one which will create a considerable excitement in art circles, as the best artists in America will contribute” (page 5).

On Sept. 26, 1885, The Inter Ocean published an article about the opening of the exhibition entitled, “American Scenic Artists. Exhibition in Chicago” (page 16). The article continued:

“During the coming week at the Louderback Galleries, No. 215 Wabash avenue, will be held a novel exhibition in a collection of aquarelle painted by American scenic artists. The galleries could not be better for the purpose, being the best lighted in the city, and when the public leave the walls covered with gems of scenic art they will think more of the scenic artists and their woks than they did before – not as they supposed, coarse whitewashers and daubers in general. In holding the exhibition in Chicago, it not only reflects credit on the artists, but will give the art patrons a chance to secure some bits worthy of galleries of a Corcoran or a Vanderbilt. Among the artists can be found the following: Matt Morgan, of Cincinnati; John Rettig, of Cincinnati; Farney, of Cincinnati; R. Hopkin, of Detroit; W. P. Davis and Graham, of Kansas City; Harly Merry of Flatbush, L. I.; Henry Hoyt, New York; Phillip Goatcher, Wallack’s Theatre, New York; William Voegtlin, New York; Getz, Boston; LaMoss, Boston. The local scenic artists have formed themselves a committee, and it is the intention if successful with this exhibition, the inaugural, to hold it annually.”

John Moran also wrote an article about the exhibit that was published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Here is his article in its entirety:

“The Scene Painters’ Show. Chicago, October 12th, 1885.

The first Exhibition of Water Colors by American Scenic Artists has been open free to the public for some weeks past, in this city, and the eighty-four examples hung on the walls of Messrs. Louderback & Co.’s galleries include some praiseworthy and valuable works. Such a collection proves that the broad pictorial treatment requisite for adequate stage effect does not incapacitate a man for the finer and more delicate manipulation essential to good aquarelles, and shows, moreover, a healthy progressive spirit among scenic artists. The name of Matt Morgan has long been gratefully familiar to us, and he is represented by diverse and facile contributions. “Alone in the Forest Shade” (1), shows lumbermen with their load descending a wild ravine flanked on either side by towering pines. The feeling of solitude and gloom is forcibly conveyed, and the tree forms and foliage broadly yet carefully handled. “The Lost Comrade” (27), and “Waiting for Death” (14), are strong and weird aspects of prairies life, the former representing a horseman, lasso in hand, who has come upon the skeletons of a horse and rider among the pampas grass, and the latter a bull calf standing over the moribund body of a cow, striving with futile bellow to keep advancing wolves at bay. A nude figure, “The New Slave” (71), standing expectantly against a rich low-toned drapery, is exquisite in drawing and color and charmingly beautiful in suggestion. Mr. Walter Burridge runs the gamut of landscape figure and decoration and is good in all! His “Spring” (9), “Autumn Leaves” (39), and “Old Mill” (49), are deftly washed-in landscapes, true to nature and aerial in quality, while “My Assistant” (16), a study of behind the scenes life, and a “Ninety Minute Sketch” (83), of his friend Mr. Ernest Albert, show character and a nice sense of texture. Mr. Ernest Albert’s “Winter Twilight” (12), is full of sentiment of the season and excellent in composition, and his “October Morning” (31), “moonrise” (40), “Sunset” (79), and “Autumn” (80), are severally individual as transcripts and prove his mastery over the vehicle he uses. “A Decorative Flower Piece” (84), by the same artist, groups of roses, pansies and forget-me-nots in a most artistic and harmonious manner. “Nobody’s Claim, Col.” (65) and “Near Racine, Wis.” (76) By Mr. Thomas G. Moses, are among his best examples and are freely treated and with fidelity to locale character and sky effects. Mr. Albert Operti gives us some reminiscences of his Lapland tour in 1884, which are realistic and worthy, and Mr. J. Hendricks Young, “A Busy Day on Chicago River” (38), which together with the local bits by Mr. Moses, Mr. C. E. Petford and Mr. Burridge, is of historical value as it is skillfully painted. “Rats, you Terrier” (59), by the same hand, is a “snappy” and bright treatment of a dog’s head and fully catches the spirit of the English. Mr. Henry C. Tryon’s “Source of the Au Sable” (34), powerfully conveys a sense of somberness and grandeur, and though ample in detail loses nothing of the vastness and breadth, which such a landscape motion calls for. Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, 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 identified thirty scenic artists who participated in 1885 exhibition, piecing together their names from various articles. Here is the list, with their location in 1885. In some cases, I was able to indicate a primary employer, partner, or place of work.

Ernest Albert, Chicago, Chicago Opera House

C. Boettger, Chicago, Sosman & Landis

H. E. Burcky, Chicago, Olympic Theatre

H. Buhler, Chicago, Sosman & Landis

Walter Burridge, Chicago, Grand Opera House

William P. Davis, Kansas City, Graham & Davis

George W. Dayton, Sr., Chicago, Sosman & Landis

George W. Dayton, Jr., Chicago, Sosman & Landis

H. F. Farny, Cincinnati, Pike’s Opera House

Charles S. Getz, Boston, Boston Theatre

Phillip Goatcher, New York City, Wallack’s Theatre

Lemuel L. Graham, Kansas City, Graham & Davis

Robert Hopkin, Detroit, William H. Power shows

Henry E. Hoyt, New York, Park, Casino and Star Theatres

Edward La Moss, Boston, Boston Museum (as assistant to T. B. Glessing)

Louis Malmsha Chicago, McVicker’s (passed in 1882)

J. Mazzanovich, Chicago, McVicker’s Theatre (with Rogers)

Harley Merry, Flatbush, L. I. Casino Theatre NY

Matt Morgan, Cincinnati

Thomas G. Moses, Chicago, Sosman & Landis

Albert Operti, New York City

C. E. Petford, Chicago, Columbia Theatre

John Rettig, Cincinnati

Charles Ritter, Chicago, Sosman & Landis and Hooley’s

J. Howard Rogers, Chicago, McVicker’s (with Mazzanovich)

David Strong, Chicago, Sosman & Landis and Haverly’s

Henry C. Tryon, Chicago, Sosman & Landis and Columbia Theatre (with Petford)

William Voegtlin, New York

John Howell Wilson, Indianapolis, Grand Opera House

John H. Young, Chicago, Sosman & Landis

Nine of those listed above were working at Sosman & Landis in 1885. Two were former employees, who had just left the firm to establish their own studio in Kansas City (Graham & Davis).

More than one-third of the participants in the first American Scenic Artists Exhibit worked for Sosman & Landis between 1884 and 1885.

To be continued…

Copyright © 2023 by Wendy Waszut-Barrett

Thomas G. Moses left Sosman & Landis in late-May 1882. He had been with the firm for a little more than two years. During this short period of time, Sosman & Landis had greatly increased their staff and productivity. Their primary work included stock scenery collections and drop curtains. Many of the drop curtains included local business cards surrounding a central landscape. In other words, they were painting advertising curtains.

Pencil sketch of an ad drop design. Twin City Scenic Co. collection. University of Minnesota Libraries, Performing Arts Archives.

In 1880 Moses wrote, “My first work was to go to Kenosha, Wisconsin and start the first job of scenery that Sosman and Landis ever did. Up to this job they had been doing nothing by advertising drop curtains.”

By 1883, the firm was reliant upon delivering multiples. For example, a number of their drop curtains depicted the same, or very similar design. Popular subjects at this time were Roman chariot races, Venetian seascapes, and Alpine landscapes.

Moses soon became tired with the repetitive nature of the projects. That year wrote “1882 found me just as restless to do something big, and I drifted along with the regular work, until about May, when Graham’s Theatre season closed. We got together and I quit the firm after refusing a big salary – that is, for me.”  At the time, Moses was making $26 a week, but had been picking up extra work with Lemuel L. Graham (1845-1914) at the Academy of Music and Standard Theatre in Chicago. Graham also worked for Sosman & Landis, but always maintained a theatre affiliation.

At the end of May 1882 Moses partnered with Graham, establishing Moses & Graham, scenic artists. This may have been in the works for a while as when the two painted scenery for Sosman & Landis at the Minneapolis Academy of Music in 1881, they also went by title Moses & Graham. Graham had at least eleven years more experience than Moses, having painted all across the country. In fact, Graham had trained with some of the best artists in San Francisco, Cleveland, Memphis, and New Orleans before settling in Chicago.

Moses & Graham quickly landed a series of projects, becoming immediate competition with Sosman & Landis. From May 1882 until March 1883, their projects included: the Academy of Music in Kalamazoo, Michigan; Redmond’s Opera House in Grand Rapids, Michigan; Blake Opera House and Belle City Opera House in Racine, Wisconsin; the Opera House in Marengo, Illinois; the Grand Opera House in Eau Claire, Wisconsin; and the Opera House in Burlington, Wisconsin.

Scenery installations completed by Moses & Graham between May 1882 and May 1883.

Moses & Graham added scenic artist, John H. Young to their team, when they were in Grand Rapids. Moses had previously worked with Young early on in his career and the two were close friends. Young remained with team, assisting in Racine, Marengo, Eau Claire and Burlington. Three skilled scenic artists meant that Moses & Graham were able to work on multiple projects, hiring local assistants when needed. They quickly became direct competitors with Sosman & Landis.

It was only a matter of time before Moses & Graham went after the same project at Sosman & Landis. It is important to remember that after two years, Moses intimately understood his former employer’s designs, bidding process, and profit margin; this put him at quite an advantage when the two bid on the same job in Wisconsin.  Both arrived in town in late March 1883. On March 23, The Osh Kosh Northwestern announced Perry Landis’ arrival in Osh Kosh at the Revere and Oak Bros.” (p. 1).  Thomas G. Moses wrote, “I went to Oshkosh, Wisconsin, after a contract.  I met Mr. Landis there.  I got the contract.  We rode to Chicago together and met Mr. Sosman on our arrival.  We were offered $45.00 a week.  I wired Graham at Burlington.  He answered $50.00 and extras.  We closed for that.” $50 in 1883 is the equivalent of almost $1700 today. Moses’ salary at Sosman & Landis almost doubled between September 1881 and March 1883.

This amount needs to be put in context, as it signals a new level of appreciation by Sosman & Landis. When Sosman first hired Moses in 1880, it was for $18 a week. This salary was increased to $20 a week during the spring of 1881. By the fall of 1881, Moses’ salary was again increased to $26/week. However, this was still far below the average scenic art rate of $35-$45 a week.

Moses and Graham’s return to Sosman & Landis caused a bit of a stir with the Osh Kosh Opera House Committee. On April 4, 1883, the Oshkosh Northwestern reported, “Graham & Moses, who were awarded the contract for furnishing curtains, scenery and stage settings for the Opera House have notified that they withdrew their bid and decline the contract. On receipt of this also comes a notification from Sosman & Landis, who also bid on the job to the effect that they have employed Graham & Moses in their establishment and are asking that the contract be awarded them in accordance with their bid. It appears that there were only two bids in for the work, that of Graham & Moses and one from Sosman & Lands. The latter’s bid was about $700 larger than that of Graham & Moses, and, now it would seem the two firms have fixed it up, so as to try and have the contract awarded at a greater amount. The directors are now talking of giving the contract to other parties entirely and not letting either of those firms get a finger in it” (page 4).

After completing Osh Kosh scenery project in April, Moses wrote, “May 1^st found Graham, Young, and Myself back on Clark Street at the Sosman & Landis Studio. I averaged $70.00 per week, as we had a lot of night work, mostly piece work. We had to do all the road work which I didn’t like. Ed Loitz joined the force this year.” This was a far cry from the $18/week that Sosman offered Moses in 1880.  

For context: $70/week in 1883 is approximately $2250/week today. This means that Moses’ monthly earning of $280/month is the equivalent of $10,000/month today.  

Sosman & Landis were enjoying an extremely high profit margin.  Throughout the 1880s, the firm maintained a 45% profit margin, or more. To look at their work in a larger picture, I am going to examine the price of a drop curtain at this time. In 1884, Sosman & Landis placed a bid on a drop curtain for the Masonic Temple in Fort Wayne, Indiana. They were one of five scenic studios bidding on the project. The other four were Noxon, Halley & Toomey, Moses & Co, E. B. Fickes, and Kover & Son.

Their bids were published in The Fort Wayne Sentinel on May 21, 1884:

Noxon, Halley & Toomey, St. Louis, $1,800; Sosman & Landis, Chicago, $1,800; Moses & Co., Kalamazoo, $1,550; E. B. Fickes, $1537; Kover & Son, Cincinnati, $1,500.

The project went to the lowest bidder, Kover, who was former Fort Wayne resident.

Thomas C. Noxon also commented on the average price of drop curtains that year. On January 21, 1884, The St. Louis Post-Dispatch published an article entitled, “Curtain and Scene Painting. The Leading Artists of the Country and the Prices Paid for Their Work” (page 8).  Noxon, Albert & Toomey had just delivered a new drop curtain to the Grand Opera House in St. Louis. The reporter queried, “What does a new drop curtain cost?”  Noxon replied, “About $500 or $600.”

When asked about how long a drop curtain too to paint, Noxon responded, “All the way from two or three days to five or six weeks. I painted a drop for Tootle’s Opera House, Sedalia. Some years ago, in two and one-half days and got $500 for it, but an artist now seldom turns out a piece of work of this kind in less than three weeks. He can put in much time on it with a great deal of profit.”

Even if one used a timeframe of three weeks, with Moses’ salary of $50/week, that means that the labor for the drop curtain was $150, plus materials. If you factor in materials, shipping, and installation at another $100, that is still less than half for a $500 curtain. So is we look at the 1884 bids for $1500 and $1600, you can see how there could be a significant profit margin for this work.

When asked about the price of stocking a theatre with new scenery, Noxon responded, “From $2,000 to $3,500” for approximately thirty-five sets, “enough for putting on any legitimate piece.”  This price did not include a new drop curtain, a piece that was almost as expensive as all of the other scenery combined.

Between 1883 and 1884, Sosman & Landis was becoming a well-oiled machine with standard operating procedures. Salesman travelled the region and landed contracts. Scenic artists and stage carpenters were sent on site to complete many stock scenery collections. Distance, venue, existing scenery, and timeline were all taken into consideration when factoring the various options of location and manufacture.  The final decision was based timeline, workload, and available space, in the main studio on Clark Street in Chicago.

Regardless of whether the work was completed in the studio or on site, it often took place place over the span of a few weeks. Some of the more complicated scenes, such as drop curtains, were frequently painted in the studio, shipped to the locations where the accompanying stock scenery was being painted on site.

Once a stock scenery collection was completed, Sosman & Landis made a point of displaying their work under stage lights to a small group of local individuals; a group that almost always included a local reporter. This “sneak peak” of the scenery received a big write up in local newspapers with scenery described in detail.  These articles provide great insight into what the firm was delivering to stages across the country.

I located a wonderful article describing scenery painted by Sosman & Landis employee, H. J. Buhler, for Myer’s Opera House in Janesville, Wisconsin. On Oct. 23, 1883, the Janesville Daily Gazette announced Buhler’s arrival: “Mr. H. J. Buhler, of Sosman & Landis studio, Chicago, arrived in the city yesterday afternoon to begin the work of painting new scenery for Myers opera house” (page 4). The article continued, “There has been a great improvement made of late in stage decorations, and standing at the front of artists in this line are Sosman & Landis. They have within the past year or so painted scenery for many of the largest theaters in the west…Mr. Buhler, who has been commissioned to do the work, is an artist of rare skill in that line. The decorations in many of the principal opera houses in the west are by his brush. He thoroughly understands the tendency of modern art as applied to the scenic department, and will do some excellent work. It will take him about two weeks to complete the work and will be engaged both day and night.”

On Nov. 12, 1883, The Janesville Daily Gazette described Buhler’s progress and the scenery (page 3).  The article reported:

“Mr. H. J. Buhler from the scenic studio of Sosman & Landis, Chicago, show has been engaged in painting new scenery for Myers Opera House more than two weeks past, will finish the work on Wednesday of this week. To-morrow evening, Mr. Buhler will arrange different stage settings which will show the general character of the work done by him. This will be done for the accommodation of the press of the city. Among the pieces executed by Mr. Buhler are two tormentors and two tormentor wings, and a grand drapery border 12 feet wide by 25 feet long. The scene includes a kitchen set, a plain chamber set, a prison set, a handsome box parlor set of Modern Eastlake ebony comprising two pairs of flats and four wings and borders to match. It is one of the finest box parlor sets to be found in any theater or opera house in this state, and is beautifully decorated with bric-a-brac, armor, plaques, and so on. There is also a Louis 14^th gothic set which is also very beautiful. The landscape paintings embrace a country landscape; a dark wood scene; a rocky pass taken from Yellowstone park; a set house, vases, and balustrade. There is also an ancient street scene taken from Strasburg, and is, in all respects, a very effective scene. One of the finest scenes among the large collection which ornaments the stage of the opera house, is an ocean set, which is a splendid piece of marine painting. Very many of these sets and scenes will be used for the first time on Thursday night when Miss Anna Dickinson will produce Anne Boleyn. Mr. Buhler has kindly consented to remain here that night an arrange the scenery for the play. A new drop curtain, a very elegant one, costing not less than $200, has been ordered by Mr. Meyers, and will be painted in Chicago. There is now four times more scenery in Myer’s opera house than ever before, and aside from the quantity, ion artistic merit it is not excelled by that of any other opera house in Wisconsin. Messrs. Sosman & Landis have a wide reputation as scenic painters and have decorated many of the leading theaters and opera houses in the west, and they have served Mr. Myers well and have done a good public service, by sending Mr. Buhler here to furnish the opera house with new scenery. He is a thorough artist, and having made scenery a specialty for years, he was, in every particular, fully competent for the task. He is a rapid workman and a genius in his line. The public will be surprised on Thursday evening to learn the great quantity of fine scenery he has turned out in so short a time. Every single piece is a credit to the artist, and a great advantage to the opera house.”

If Buhler were paid the same amount as Moses and Graham in 1883, he earned less than $300 for the project. By 1882, the studio employed a staff of five scenic artists.

By the summer of 1883, Sosman & Landis’ staff included: Thomas G. Moses, Lemuel L. Graham, John H. Young, Edward Loitz, William P. Davis, Henry C. Barrow, Harry J. Buhler, Edward Morange, Hardesty Maratta, Charles S. King, Cyrus M. Crouse, C. W. Corey and August Kreis. The staff continued to increase over the next year, as the studio’s workload continued to increase. David A. Strong, Henry C. Tryon, Charles E. Boyer, Claude Hagen, and C. D. Baker were associated with the firm by 1884.

I have identified six ways that Sosman & Landis secured scenic and stage work at this time. I will explain each way.

1. The first way was local advertisements, placed in newspapers across the country. They received orders from a variety of entertainment venues this way, many of them mail order.

As noted in my previous post, here is the same advertisement that appeared in both Ohio and Texas newspapers during 1882:

Advertisement in Cincinnati Enquirer, April 15, 1882.

2. The second way was sending salesmen from town to town; this was to making cold calls today. Many of the “salesmen” were intimately familiar with the design and mechanical requirements of a stage, also filling in as scenic artists and stage carpenters. In many cases, the salesmen focused on the sale of advertising curtains (drop curtains with ad spaces for local businesses). After collection payments from local businesses for an ad space, the drop was gifted to the community. Ultimately, their “ad drop” was so successful that it resulted in stock scenery work.

3. The third way was word of mouth. As the firm gained a national reputation, their scenery was sought after by theater managers who became familiar with their work. For example, Manager Mosely recommend Sosman & Landis for the project at Myer’s Opera House in Janesville, Wisconsin (Janesville Daily Gazette 23 Oct. 1883, page 4).

4. The fourth way was using their employee’s networks. For example, they targeted venues with an employee’s scenery, offering to “redeliver” new scenery for the stage. This familiarity with a particular individual and their work helped Sosman & Landis reach into new areas. As with establishing regional branches, local connections mattered. The firm immediately established regional offices in Dallas, Kansas City, Detroit, New York, and Cincinnati by the mid-1880s. For Cooke’s Opera House in Grayville, Illinois, the settings were installed by employee August Kreis, a machinist who spent his childhood in the area. On June 22, 1883, Evansville Courier and Press reported, “The scenery which is very elegant was painted by Messrs. Sosman & Landis of Chicago. The settings and its stage were arranged by Mr. August Kreis, a Grayville boy, and shows taste and skill” (page 4). Over the years, Sosman was also remembered as “a Macomb boy,” despite having left the area decades ago. These histories greatly mattered when competing for work in small towns and rural areas.

5. The fifth way was responding to call for bids on an upcoming project. These were also instances where local ties could sway a vote. On Saturday, August 30, 1884, the Chicago Tribune published an announcement from the Academy of Music in Saginaw, Michigan (page 15). It was a call for “Sealed Proposals” on upcoming theatre work.  The announcement stated, “Sealed Proposals will be received till 12 o’clock noon Sept. 1 for the following work on the new Academy of Music at East Saginaw, Mich.:

1^st – Work and materials to complete the private boxes and proscenium front according to plans and detail drawings.

2^nd – Scenic and stage work.

3^rd – Carpets, draperies, matting, and window shades.

4^th – Brass-work, tiling, and material trimming

5^th – Decorating

6^th – Gas-fixtures and electric lighting of same

7^th – Interior painting, gilding, and bronzing

Proposals will be received for the whole or any part of the above work.

Proposals to be sent to E. H. Morely, East Saginaw, Mich. Committee reserve the right to reject any or all proposals. Plans, specifications, and detail drawings can be seen till Saturday, Aug. 30, at 111 and 113 Wabash-av. Inquire for B. W. Wood. Architect to be consulted as to the colors, etc.

(signed, J. M. Wood” (page 15)

Earlier that year, Wood had become lessee of the Blake hotel, of Racine (The Daily Journal and Republican 28 May 1884, page 4). He would go on to form a brief association with Sosman and Landis, known as Sosman, Landis, & Wood. Having an employee with architectural experience was key.

6. The sixth way was establishing an affiliation with a particular theatre architect. In addition to Co. J. M. Wood, Sosman & Landis employees H. C. Barrow. Barrow had experience as a stage carpenter, scenic artist, architect, contractor, and salesman. In many ways, he was a jack-of-all-trades; certainly as asset to the firm. Over the years, Sosman & Landis would form alliances with regional architects, but also offer their own architectural services for the construction of stage houses. In fact, they later offered free stage houses designs, if their scenery was installed at the venue. This was a wonderful way to ensure that the stage machinery was in working order when the scenery arrived for installation.

Below is a list from 1883-1884 mentioning the firm’s sales, work and installations. In some cases, a specific individual employed by the firm is named, and his work described in detail. Please consider this a small sampling of their work. In 1884, the firm was credited with delivering scenery to 150 opera houses. In 1889, the firm was credited with delivering scenery to 1000 opera houses across the United Stated. In 1894, the firm was credited to delivering scenery to 4000 opera houses. No one could compete with their track record. Sosman & Landis was a firm known all across the country, greatly respected for their high-quality of scenic art, mechanical innovation, and their consistency to deliver an excellent product.

ALABAMA

Gadsden, 1884 – Opera House (Corey, stage carpenter)

ARKANSAS

Fort Smith, 1883 – Academy of Music (Barrow, salesman)

Little Rock, 1883 – Capital Opera House (Barrow, salesman)

On August 12, 1883, the Daily Arkansas Gazette reported, “The Capital Opera house is to have a new drop curtain immediately. The scene to be represented upon it is that grand old conception of the Roman chariot race, and when completed the curtain will be one of the finest in the state. Mr. H. C. Barrow, representing Sosman & Landis, of Chicago, at whose studio the work is being done, is in the city, and states that he also has orders for the curtain for the Pine Bluff Opera house, the Fort Smith Academy of Music, the Van Buren theater and Ghio’s at Texarkana.”

Pine Bluff, 1883 – Opera House (Barrow, salesman)

Texarkana, 1883 – Ghio’s at Texarkana (Barrow, salesman)

Van Buren, 1883 – Opera House (Barrow, salesman)

GEORGIA

Columbus, 1884 – Springer Opera House

On June 4, 1886, the Columbus Enquirer Sun reported, “Mr. H. C. Barrow, of Chicago, was in the city yesterday, endeavoring to secure the contract to place the new scenery in Springer Opera House. Manger Foley has not given him an answer to his proposition yet.”

ILLINOIS

Bloomington, 1884 – Durley Theatre

Chicago, 1884 – Standard Theatre

On Jan. 13, 1884, the Chicago Tribune reported, “The painting is by Sosman & Landis, and everything, from the elegant new curtain to the smallest property, is thoroughly first class…The scenery is beautiful and effective and elicits the admiration not only of the audience, but of the theatrical profession as well. It was done by the Sosman & Landis Scenic Studio, 277 and 279 South Clark Street, a firm who have almost a National reputation for artistic work. They are now putting scenery in the new Lyceum Theatre, and during last season put scenery in the new Gillis Opera-House, Kansas City, Mo., and a number of others, besides supplying upwards of 150 smaller opera houses and halls” (page 6).

Chicago, 1884 –  Lyceum Theatre

Decatur, 1883 – Opera House (Graham and Young, scenic artists)

On June 27, 1883, the Decatur Daily Republican reported, “Mr. John H. Young, the water color artist of Chicago, has arrived in the city and will form a class on Thursday afternoon of this week for th purpose of giving instruction in making sketches from nature. Mr. Young may be found either at the opera house where he is engaged painting scenery, or at Drake’s Hotel. The artist will give lessons on Tuesday and Thursday afternoons each week during his stay of four weeks in Decatur.”

Grayville, 1883  – Cooke’s Opera House (Kreis, installer).

Streator, 1883  – Plumb Opera House (Strong, scenic artist).

On July 29, 1883, The Daily Commonwealth of Topeka, Kansas, announced that the house was rapidly approaching completion, and when finished it would be “one of the prettiest in the West.”

Joliet, 1883   – Opera House (Strong, scenic artist).

On July 7, 1883, The Ottawa Free Trader credited Strong as the scenic artist (p. 5)

Aurora, 1883  – Opera House  (Strong, scenic artist).

On June 24, 1883, The Inter Ocean reported that David A. Strong “had painted a fine drop curtain for the Opera House at Aurora. He will go to Aurora and devote his attention to the scenery of that house during the present week. The Opera House is to be remodeled and put in shape for first-class attractions” (page 13).

Decatur, 1883 – Opera House (Graham and Young, scenic artists).

On July 28, 1883, The Herald-Dispatch reported “The exhibition of the new scenery at the opera house last evening was highly satisfactory. The favored few who were present saw even better scenery that they had expected. The drop curtain is a copy of Jerome’s celebrated painting of the Roman chariot race. The ‘back drops’ included the following scenes: an ideal mountain landscape’ a ‘palace drop,’ which is really the scene under the dome of St. Peter’s cathedral at London; a ‘palace arch drop,’ which is used in connection with the foregoing and to give it a changed appearance; a ‘marine drop,’ presenting a pretty sea view. The ‘flats’ include the following views: a dark wood, a light landscape, a palace garden, a street in perspective, a modern drawing room, a rustic kitchen, a prison and a plain chamber. All these scenes have the requisite borders and wings. Below is given a list of what the painters call ‘set stuff,’ i.e. pieces which are placed in stage alone and braced, not being made to run in grooves or drop from above. The list embraces a garden walk, a garden balustrade, a ‘set house,’ a ‘set cottage,’ ‘set waters,’ ‘set rocks’ and ‘set trees.’ L. L. Graham, the scenic artist, has been engaged in this work for three weeks. He has been assisted by John H. Young, of Chicago. Mr. Graham has had 17 years of experience in this line of painting. He and his assistant left last night for Chicago, whence they go to do the same kind of work at Boyd’s opera house in Omaha, and finally at the New Gillis opera house in Kansas City, the largest in the west, which has just been built at a cost of $175,000. Of Mr. Graham’s work in the opera house, we need only speak briefly, His work shows that he has greatly improved during the years since he painted the former scenery. In the painting of his landscape views, he is almost perfect. The coloring is natural, and the lights and shades are arranged with an artistic taste. In the painting of animal, however, he is not so happy. Two of the horses’ heads in the scene on the drop are perceptibly ‘off’ in shape, but with this exception the view seems perfect. He is accurate and painstaking in his views of house, streets, palaces and gardens. We of Decatur are to be congratulated that he has come among us, for his work on the opera house scenery will give to the drama enacted there this year a realism and vividness which we have never heretofore known” (page 3).

INDIANA

Edinburgh, 1883 – Tracy’s Opera House

On Dec. 6, 1883, The Edinburg Daily Courier reported, “grand and magnificent scenery, gotten up by Messrs. Sosman & Landis, of Chicago” (page 4).

IOWA

Waterloo, 1884 – E. W. Burnham’s new Opera House (Strong, scenic artist).

On October 8, 1884, The Courier reported, “A Splendid Job. – E. W. Burnham yesterday showed us the new drop curtain which he has just received for the opera house. It is from the studio of Sosman & Landis, of Chicago, where the rest of the new scenery is being made and was painted by Strong the scenic artist of Haverly’s theatre. In artistic design and execution, this curtain can hardly be excelled in any city theatre, It represented a Swiss River scene as a picture, framed in a heavy frame, with handsome velvet curtain on each side. The combination of colors makes a rich and very beautiful effect and the whole curtain displays great artistic excellence” (page 8).

KANSAS

Sabetha, 1884 – Armory

On Jan. 3, 1884, the Sabetha Weekly Herald  announced, “Sosman & Landis have agreed to positively have the scenery into position, at the Armory, by the 15^th.” Then, as now, not all jobs ran smoothly, or were delivered on time. Over the years, scenery was both damaged and lost in transit.  Occasionally, these unfortunate incidents results in court cases. As previously stated, the average profit was so high that they could afford to take a loss, without having to waste time on expensive court cases. That being said, demand for painted scenery was greater than the supply of artists or studio, giving the firm an upper hand in negotiations.

Sabetha, 1883 – GAR Hall

On Dec. 6, 1883, the Nemaha County Republican reported, “The scenery for the stage has been contracted from Sosman & Landis, of Chicago. It will be about the same as used at Seneca, except the drop curtain, which will be much finer” (page 7).

Seneca, 1883 – Opera House

Topeka, 1884 – Union Hall  

Wyandotte, 1883 – Dunning’s Hall

On May 17, 1883, The Wyandotte Herald reported, “The scenery and drop curtain were painted by Sosman & Landis of Chicago” (page 3).

MASSACHUSETTS

Haverhill, 1884 – Music Hall (scenic artist, Tryon).

On August, 2, 1884, the Deseret News of Salt Lake City, Utah, reported, “Henry C. Tryon, formerly scenic artist of the Salty Lake Theatre, whose productions are so much admired by the theatre-going public of this city, lately executed a splendid specimen of his skill at the Music Hall in Haverhill, Mass. It is in the form of a new drop curtain, the subject being a scene at Bellagio, on Lake Como, Italy. The Haverhill Gazette asserts confidently that ‘a more artistic production of its kind does not now hang behind the proscenium of any theatre in the country.’ It must be indeed superb if it excels the curtain executed by the same artist for the Salt Lake Theatre, which delights all who look on it with artistic eyes.” (page 2).

MISSISSIPPI

Vicksburg, 1884 – New opera house (Corey and Barrow, stage carpenter and scenic artist).

On July 10, 1884, The Vicksburg Herald reported, “Mr. Henry C. Barrow, scenic artist representing the big scenery house of Sosman & Landis, of Cincinnati, arrived here yesterday, to contact with Messrs. Piazza & Botto, proprietors of the opera-house, for a new set of scenery for that building” (page 4).

Aberdeen, 1884 – Masonic Temple Opera Hall (Corey).

On Sept 19, 1884, The Vicksburg Herald reported, “The Opera-house. Messrs. Piazza & Botto, proprietors of the Opera-house have determined to send to Chicago for the stage carpenter to put up the stage settings. A man was telegraphed from some days ago and he is expected to arrive here this morning and will begin work at once putting up the scenery and arranging the house for the opening of the season. The drop curtain will be a new departure in this vicinity. In the center of it will be handsomely painted a beautiful landscape while surrounding this will be twenty spaces which will be devoted to advertising, the lettering on the advertisements will be tastefully and handsomely done by the best of scenic artists. Only about five of the twenty spaces which compose the inner border of the curtain remain untaken, and these will be filled to-day and the curtain will be ordered at once” (page 4).

On Sept. 23, 1884, the Vicksburg Evening Post reported, “Mr. Charles W. Corey of Chicago, the stage carpenter engaged by Messrs. Piazza & Botto, arrived by this morning’s train. He is much pleased with the appearance and arrangement of the new Opera-house, and says it will make decidedly one of the handsomest places of amusement in the South. He says it is one of the nicest arranged places for an Opera-house he has seen elsewhere in the South. Mr. Corey will proceed with work at once, and says that there will be no delay whatever from now on in pushing the work to a rapid and satisfactory completion. The managers of the Opera-house state that Mr. Corey has a big reputation as a stage carpenter, and that they are charmed with his favorable opinion of the house, because his opinion is that of a man who has splendid experience in such matters and knows what he is speaking about” (page 1).

On October 24, 1884, The Vicksburg Herald reported, “Mr. Frank Corey, the stage carpenter has about finished his labors on the new opera-house and yesterday hung the new drop curtain, which can double discount the old one with greatest safety. A richly painted border in fancy colors, surrounds a fine representation of the noted Roman chariot race, and majestic horses being defected near life size in the canvas and appearing as natural as the brush held by an artistic painter who did this work. The delicate shadowing is done beautifully and the richly folded draperies surrounding the grand stand from which the Roman emperor of old is represented as viewing the race, set-off to advantage the fine figures as they are grouped together in the stand. Altogether the scene is a thrilling one, beautifully done, and the eyes of those frequenting opera-house will invariable rest on it with uninterrupted pleasure” (page 4).

MISSOURI

Kansas City, 1883  – New Gillis Opera House (stage carpenter, Hagen, with scenic artists Graham, Young).

NEBRASKA

Fremont, 1884 – Bullock’s Opera House

On June 18, 1884, the Fremont Tri-Weekly Tribune reported, “The drop curtain is 25 feet square and was painted in Chicago by Sosman & Landis; there are seven new sets of scenery and a Saunders gas machine with 12 border and 12 footlights to illuminate the stage” (page 7).

Omaha, 1883  – Boyd’s Opera House (Graham and Young, scenic artists).

NEW YORK

Delhi, 1884 – Opera House

On July 2, 1884, the Delhi Delaware Gazette reported, “The following is a list of the stage supplies, ordered from Sosman & Landis, of Chicago, the largest house of its kind in America: An elegant and artistic drop curtain; parlor scene; kitchen scene; plain chamber scene; prison scene; wood scene; garden scene; street scene; 2 front wings’ 6 parlor wings; 6 kitchen wings; 6 wood wings; 1 grand drapery border’ 3 sky borders; 1 set cottage; 3 set rocks; 1 set bridge; 2 set balustrades; 2 set garden vases. The building will be completed about the middle of August, and the grand opening will occur about the 1^st of September” (page 3). All told, Sosman & Landis delivered a drop curtain and 7 complete sets, with 43 pieces (Oct. 1, 1884 in Delhi Daily Gazette).

PENNSYLVANIA

Irwin, 1884 – Opera House   

On Jan. 2, 1884, the Pittsburgh Post-Gazette reported, “The stage scenery came from the popular firm of Sosman & Landis, Chicago” (page 8).

Tunkhannock, 1883 – Opera House

On Oct. 19, 1883, the Tunkhannock Republican reported, “The manager of the Opera House, F. H. Piatt…has ordered new scenery from Sosman & Landis, well known scenic artists of Chicago, which he expects to put up soon” (page 3).

TEXAS

Austin, 1883  – Opera House

On July 5, 1883, Austin American-Statesman reported, “Mr. H. C. Barrow, from the celebrated scenic studio of Sosman & Landis, Chicago, was in our city yesterday for the purpose of consummating arrangements with Manager Millett for additional scenery to the already large stock of his opera house” (page 4).

Burnett, 1884 – New Opera House

On March 11, 1884, the Austin American-Standard reported, “Messrs. Sosman & Landis of Chicago, are painting the scenery for our new opera house” (page 1).

Dallas, 1884- Opera House (Barrow, salesman).

On Aug. 20, 1884, The Herald announced, “Henry C. Barrow, scenic agent, and opera-house architect and contractor, is in the city” (page 4).

Fort Worth, 1884 – Opera House (Barrow, salesman).

On May 19, 1884, The Fort Worth Daily Gazette identifies Henry C. Barrow as “opera-house architect, and contractor, of Dallas” (page 8)

Galveston, 1884 – Opera House (Barrow, salesman).

On June 3, 1884, The Galveston Daily News reported, “H. C. Barrows, scenic agent, of Chicago, is in the city, and gave THE NEWS a call yesterday. He comes to put in a bid for refitting the Opera House” (page 8).

Jefferson, 1883  – Taylor Opera House (Barrow, scenic artist).

On March 1, 1883, the Tri-Weekly Herald reported, “Mr. H. C. Barrows, scenic artist from Chicago, just has completed for the Taylor Opera House, in Jefferson, one of the handsomest stages and scenery to be found in Texas. There are fifteen scenes in all, embracing two beautiful drop curtains, ten regular scenes, and a number of set pieces, set house, garden wall, balustrades, &c. Mr. B. has also done some beautiful frescoing on the Proscenium front, In company with a number of Jefferson gentlemen, we visited the Taylor Hall yesterday morning, all of whom were delighted with the work. It cannot be excelled in artistic finish, completeness and excellence of prospective, equaling the best scenery in large cities. Mr. Barrow has just completed Ghio’s Opera Hall, at Texarkana, and is likely to capture every place he goes to where stage scenery is required. It is admirable. We repeat: there has been nothing like it in Texas before Mr. B.’s advent” (page 2).

On March 6, 1883, the Tri-Weekly Herald reported, “Mr. H. C. Barrow with Sosman & Landis scenic studio, of Chicago, Ill. Is here and will soon refit our opera house with a full set of scenery and new drop curtain with advertisement of our leading business firms painted thereon” (p. 3).

Marshall, 1883  – Opera House (Barrow, scenic artist).

WISCONSIN

Janesville, 1883  – Myer’s Opera House (Buhler, scenic artist).

Oshkosh, 1883  – Opera House (Graham and Moses, scenic artists).

It is understandable that Sosman & Landis recognized their employer’s high profit margins, as opportunity to share the profit if one were willing to strike out on their own. Like Moses, others briefly left the firm and establish their own scenic studios. In many cases, Sosman & Landis continued to work with these former employees, often offering them an incentive to run the firm’s regional office, in addition to their new business. Such was the case with the new scenic studio of Graham & Davis in 1884. Lem L. Graham and Will P. Davis left Sosman & Landis to establish their firm in Kansas City, Missouri. They never directly competed against their former employer, and often represented the firm in western projects. In other words, they also ran the Kansas City branch office for Sosman & Landis. However, it appeared to the public as two completely separate entities.

In 1883 Graham had become quite well-known in the Kansas City area when his name made headlines in 1883. That year, Sosman & Landis landed the contract for the new Gillis Opera House. On Sept. 8, 1883, The Kansas City Star reported, “As stage carpenter, Mr. Claude Hagan, one of the most expert in his profession in the country, has been engaged. He has been employed in the best theaters in the country for years and last year traveled with the Hanlons who required the most complicated stage machinery. He superintended the setting of the Gillis stage, and it is said that what he don’t known about a stage isn’t worth knowing. Mr. Lem Graham is the scenic artist and none who see the scenery exhibited at the Gillis will for a moment doubt his ability” (page 1). Graham and Hagen continued to work together, both continuing their association with Sosman & Landis.

With Graham and Davis’ departure, there were two new openings in the scenic department at the firm’s main studio in Chicago.  Henry C. Tryon and Charles Boyer joined the paint staff in 1884. Tryon had recently left a position at The Salt Lake Theatre in Utah. Tryon, his brother Spencer, and William Morris, had painted new scenery for the renovated space.  Tryon left Salt Lake City mid-September 1883. On Sept. 17, 1883, the Deseret News announced, “Good Bye – Mr. Henry C. Tryon, the skillful scenic artist, leaves for the East to-morrow. Besides his remarkable talent he is the innate possessor of a genial disposition and a mind remarkably free from that species of petty jealously by which otherwise capable men too often dim the luster of their capacities. He has made numerous friends here whose best wishes he carries with him. Good bye” (page 3).

As their shop was staffed with well-experience individuals, both Sosman and Landis took to the road, securing even more orders and scouting for new employees. A few of their travels were mentioned in newspapers as arrivals at local hotels. For example,

On March 24, 1883, The Osh Kosh Northwestern reported, “Perry Landis, the scenic artist from Chicago, visited the studio of Edmund Osthaus and his sister, when here, was so much pleased with the flower work by Miss Mary Osterhaus that he gave her an order for a large piece of work. He pronounces her painting excellent” (page 4).

While business increased at the studio, friendships blossomed among the staff. On June 15, 1884, Sosman & Landis scenic artists Moses, Young, Morange and Maratta went on a sketching trip to Colorado. Moses published in the Palette & Chisel newsletter years later. His series of five articles was entitled “Tom Moses’ Trips: Breckenridge, Col.” Early in 1884, Thomas G. Moses accepted quite a bit of “night work” that subsequently funded his travel that year.  At the time he was twenty-eight years old. The ages of his traveling companions were as follows:  John H. Young (26 yrs.), Edward A. Morange (19 yrs.), and Hardesty C. Maratta (20 yrs.).

I have written about this trip over the course of several posts in the past, but here is the beginning of his story as it provides a reason for the adventure. Moses wrote, “John H. Young, Edward Morange, Hardesty Maratta and myself talked and planned for over a year regarding a trip to the mountains of Colorado. In our every day work of Scenic Painting we were called upon to paint all kinds of mountain scenes, and, as we had never seen a real mountain, we had to rely upon photographs or magazine cuts for our ideas. So we were, naturally, anxious to see the wonderful piles of rock and earth.” The four scenic artists travelled from Chicago to Breckenridge, staying for a few weeks in the mountains. In the end, Moses wrote, “On our return trip we looked like a bunch of tramps, happy and ready for our old work.”

Here are links my five posts about his trip.

Tales from a Scenic Artist and Scholar. Part 192 – Tom Moses’ Trips – Breckenridge 1884, first part

Tales from a Scenic Artist and Scholar. Part 193 – Tom Moses’ Trips – Breckenridge 1884, second part

Tales from a Scenic Artist and Scholar. Part 194 – Tom Moses’ Trips – Breckenridge 1884, first half of third part

Tales from a Scenic Artist and Scholar. Part 195 – Tom Moses’ Trips – Breckenridge 1884, second half of third part

Tales from a Scenic Artist and Scholar.  Part 197 – Tom Moses’ Trips – Breckenridge 1884, fourth part

In addition to forming close friendships with his colleagues, Moses also became attached to both Sosman & Landis. In 1884,  Moses moved to the same street as the Landis. Of the move, he wrote, “Mr. Landis prevailed on us to move to Centre Avenue, next flat to theirs. We did so, and it cost us considerably to furnish the flat, including a piano. We thought we deserved it; as the old one that was given to us as a wedding present had become impossible. We had saved considerable money.” Landis’ young wife was out of her element and in a marriage with a husband who was constantly on the road or planning with his business partner. She was from a small town without any support network. Moses’ wife Ella was also from a small town but had the benefit of small children and nearby in-laws. It makes sense that Landis would have also seen the similarities and hoped that Ella would help ease his wife’s discomfort in new surroundings.

This added a layer of complexity to Moses’ relationship with his employers. Although he would repeatedly strike out on his own over the years, Moses maintained extremely close ties to Sosman, Landis and their families.

To be continued…

Copyright © 2023 by Wendy Waszut-Barrett

There were two newspaper articles published about Perry Landis on Jan. 27, 1881.

Perry Landis, pictured in 1889 Sosman & Landis catalogue.

The first article appeared in Joseph S. Sosman’s hometown newspaper, in Macomb, Illinois. It announced Landis’ recent marriage. At the time, Landis was living with Sosman at 177 S. Peoria St. in Chicago. Sosman remained at the address after the marriage, with Mr. and Mrs. Landis renting a few doors down, at 173 S. Peoria. In 1883, they all moved one block west, living at 155 S. Sangamon. Understandably, this situation did not last for long. By 1885, Sosman returned to his previous home at 177 S. Peoria, with the Landis’ living a few blocks to the west, at 104 Centre av.

On Jan. 27, 1881, Sosman’s hometown newspaper, The Macomb Journal, announced:

“LANDIS-FESSLER. At Shelbyville, Indiana., Jan. 13^th, 1881, by Rev. J. G. Chaffee, Perry Landis, of Sosman & Landis, Chicago, and Miss Nora Fessler, of Shelbyville.

When we opened the letter containing the above announcement, saw the well known handwriting of J. S. Sosman, and the word married, we thought sure enough ‘Joe’s married as certain as a gun.’ But further investigation showed it only came near enough to be his partner. Never mind, Joe, it don’t always simply ‘graze’ a fellow. At present, however, content yourself in the felicity of Mr. and Mrs. Landis” (page 5).

Also on Jan. 27, 1881, the Clinton Republican of Wilmington, Ohio, reported, “Perry Landis, of the firm Sosman & Landis, the gentlemen who furnished the scenery for our City Hall, has been in town for the past few days. He proposes, provided the Council are willing, to place an extra curtain in front of the stage at the hall free of charge. The pay to come from advertizers who have their cards inserted on the margin” (Jan. 13, 1881, page 3).

Over the span of less than two weeks, he married, moved his wife to Illinois, and was back to selling scenery in Ohio. During this same period, the firm not only ran a series of nationwide advertisements, but sent salesmen on the road from one town to the next. The idea was to sell advertising spaces on a drop curtain and gift the finished product to a local theater.  A drop curtain, paid for by local businesses, was one way to “get your foot in the door.” It often resulted in much larger orders for stock scenery and touring productions. Brilliant marketing strategy.  The community and theater owners just needed to see your work and how it compared with existing scenery. In all cases, their work was leaps and bounds above existing stock created by local sign painters. Advertising curtains were guaranteed income as the money was collected before the product was installed.

Here are two examples from early in 1881:

On Feb. 21, the Portsmouth Daily Times in Ohio published, “Sosman & Landis, scenic artists of Chicago, Ill., are soliciting advertisements for a new drop curtain to be painted for Wilhelm’s Opera House.”

On March 17, 1881, Fayette County Herald in Washington, Ohio, reported, “Messrs. Sosman & Landis, of Chicago, hung the new drop curtain in Music Hall last Monday. It is a very pretty piece of work. A beautiful Venetian scene occupies the center, and across the top, bottom and sides are arranged the business cards of prominent firms, painted in attractive and artistic style. The whole presents a very fine appearance and is an improvement over the old curtain” (p. 5).

Orders poured in at such a rate that Sosman & Landis rapidly increased their staff. Keep in mind that Moses was the first scenic artist hired at Sosman in 1880. Nine years later, the firm employed a staff of twenty-five artists, in addition to managing regional branches all across the country.

Of the scenic art staff in 1881 Moses wrote, “The others were able to draw more, because they were better in the artistic end, but I had it over them all when it came to speed.”  And because of this speed, Moses became the best candidate to send on the road. After all, you want someone who is fast, as it keeps the expenses down, the profit margins up, and the clients happy.

Sadly, this also meant that Moses spent long periods away from his family. He was starting to realize that he was in a losing position; making less money than before and spending less time with his family. This became apparent by the onset of 1881, with Moses writing, “1881 opened with a restless feeling for me. I wanted to do something to get more money.” When Moses was in Chicago, he also painted for Lemuel L. Graham at the Academy of Music in Chicago, writing, “I enjoyed the work, even if I had to do it evenings and Sundays.  I received good pay for this, which all helped.  The plays were mostly of the melodramatic order and required a lot of scenery. Sosman and Landis knew I was helping Graham and seemed to be pleased that I was forging ahead.” By the summer of that year, Graham was also working for Sosman & Landis.

Graham and Moses painted scenery for the Academy of Music in Minneapolis, Minnesota. As with all projects for Sosman & Landis, a stage carpenter was sent on site, ahead of the artists, to prepare the space, install stage machinery and superintend the final installation. In Minneapolis, it was Charles S. King.  

King was an extremely gifted, well-respected, and nationally-renowned stage carpenter when he stared working at Sosman & Landis. He installed scenery at the Minneapolis Grand Opera House earlier that year. On Jan. 27, 1881, Minneapolis Star Tribune explained that Mr. King “is regarded as one of the best stage-carpenters in the country, having had a wide experience and possessing perfect knowledge of his profession. He says our opera house will have the finest stage, the easiest worked, and will be the best appointed of any theater west of Chicago, or of many large eastern cities (Jan 27, 1881, p. 5).

Grand Opera House, Minneapolis, MN, 1885. Minnesota Historical Society.

It was likely the success of this project that landed the Academy of Music work.

Academy of Music, Minneapolis, Minnesota. Photo by William Henry Illingsworth, 1874. Minnesota Historical Society.

On August 20, 1881, The Minneapolis Journal reported:

“THE ACADEMY OF MUSIC.

Beautiful New Scenery Ready for the Public Gaze – General Renovation of the Auditorium.

Manager Herrick last evening invited the members of the press, lit up the Academy of Music and exhibited the new scenery painted under Sosman & Landis, of Chicago by Graham & Moses. Everything is new from the drop curtain to the smallest bit of stage illusion. The drop curtain in the center shows a framer of the same size as that which formerly contained the group of dyspeptic cadavers who so long exposed to the public gaze that their consumptive frames in the midst of a mad revel incited by one consecutive glass of beer and a bunch of grapes. The new painting represents a scene in Normandy with a cotter’s home in the foreground and grand old mountains in the rear, one of the hill-tops crowned with an ancient ruin. The coloring and lights and shadows in this picture, as in all the scenery, is soft and pleasing. The large frame surrounding the picture is draped with a representation of a lace curtain drooping in graceful folds and parting on either side to show a large vase of flowers. The drop which is revealed as the curtain is rolled up, represents heavy white silk drapery trimmed with rich fringe, while on each side are looped curtains of cardinal velvet, edged with ermine. The proscenium arch pillars are new and handsome. There have been added some fifteen new scenes among them; the street scene, representing the times of ’76; the ‘center door fancy;’ ‘the plain chamber;’ ‘the oak interior.’ The ‘palace arch’ with its beautiful effect; ‘the dungeon scene,’ grim with skulls, rusty chains, and heavily barred windows; ‘the cottage flat;’ ‘the drawing room;’ ‘the rocky pass,’ etc., etc. The painters have been especially happy in their out-door scenery; the trees and shrubbery standing out in bold relief, so that one is led to wonder why the timid maiden, coy and fair, does not seek shelter behind their friendly trunks when ‘the villain still pursues her.’ The scenery is all new, every piece of it, and the Academy is to-day as fully equipped as any similar theater in the country and certainly none can boast of more artistic worth in their scenic effects” (page 1).

For more information about this venue, visit: https://twincitiesmusichighlights.net/venues/academy-of-music/

Moses became very canny about getting his name in print, in addition to the name of the firm. He must have realized that this was key to securing his own future career as a scenic artist.  Many studio artists remained nameless throughout the duration of their life, sole credit going to the firm where they worked.

This was an incredibly exciting time at the firm as they rapidly became the largest scenic firm in the country. Between the summers of 1881 and 1882, the firm delivered scenery to seventy-four venues in nineteen states and three territories. This number did not reflect other projects for touring shows or local productions.  We only know of this number as a list of scenery installations was published in Sosman’s home town of Macomb, Illinois.

On July 14, 1882, The Macomb Journal reported:

“SOSMAN & LANDIS – A Leading Firm in Their Line in Chicago – The Senior a Macomb-Raised and Educated Boy.

“Nearly all the county readers of the Journal know ‘Joe’ Sosman, and that he is in Chicago in the scenery-painting business, but few, if any, are aware of the prominence of the firm of which he is the senior partner. ‘The News Letter,’ a paper devoted to the theatrical interest, in an article not long since, gave some account of the prominence and business of the firm, which article we append below. We know it will be perused with interest by hundreds of the ‘Journal’ readers, who have a lively solicitude not only for Mr. Sosman, but for every McDonough county boy who goes out in this great world to carve his fortune, his head and hand being his only capital. Here is the article:

One of the surest indications that Chicago is fast becoming one of the most important dramatic centers in America is the evidence before us, that in all matters pertaining to the theatrical profession Chicago has become, so to speak, a manufacturing center. Theatrical printing, etc., have long been staple industries, but of late years, matters which hitherto might have been considered as peculiarly belonging to the great metropolis of the East, have taken prosperous root in Chicago. Among the industries we refer to is that of fitting up opera houses and out of town theatres.

Some five years ago, Messrs. Sosman & Landis, a firm composed of a couple of enterprising young fellows established in this city what they termed a scenic studio. The beginning gave them a good deal of hard work, but in the period we have mentioned above, their business has grown from comparatively nothing to being one of the most important of its description in the United States. This all speaks volumes for Chicago as a theatrical center, and say what we may, there is no disavowing the fact that next to New York city, Chicago is without a question the most important locality in America in all matters pertaining to general amusement affairs.

Perhaps no better recommendation could be given to the firm we have referred to above than the information which is contained in their circulars to managers, and which tells the actual number of houses they have fitted-up since the first of June, 1881. We give the list as a matter of curiosity as much as anything else:

New Opera House, Rockford, Illinois

Academy of Music, Minneapolis, Minnesota

Grand Opera House, Richmond, Indiana

Hill’s Opera House, Ann Arbor, Michigan

Humblin’s Opera House, Battle Creek, Michigan

Union Opera House, Kalamazoo, Michigan

Russell’s Opera House, Bonham, Texas

Brownsville Opera House, Brownsville, Texas

My Theatre, Fort Worth, Texas

Leach’s Opera House, Somerville, Tennessee

Kahn’s Opera House Boliver, Tennessee

King’s Opera House, Jackson, Tennessee

Stummer’s Hall, Washington, Georgia

Vicksburg Opera House, Vicksburg, Mississippi

McWhinney’s Opera House, Greenville, Ohio

Yengling Opera House, Minerva, Ohio

City Hall, Athens, Ohio

Freeman’s Opera Hall, Geneseo, Illinois

Odd Fellows Hall, Peshtigo, Wisconsin

Hyde’s Opera House, Lancaster, Wisconsin

Klaus’ Opera House, Green Bay, Wisconsin

Storie’s Opera House, Menominee, Wisconsin

Holt’s Opera House, Anamosa, Iowa

King’s Opera House, Hazleton, Iowa

Opera House Nanticoke, Pennsylvania

Opera House Athens, Georgia

Opera House Gainesville, Texas

Opera House Reidsville, North Carolina

Edsell Opera House, Otsego, Michigan

New Opera House, Howell, Michigan

Stouch Opera House, Garnett, Kansas

Germania Hall, Blair, Nebraska

Bennett’s Opera House, Urbana, Ohio

Klaus’ Opera House, Jamestown, Dakota

Opera House, Westville, Indiana

City Hall, Mineral Point, Wisconsin

City Hall, Lewisburg, West Virginia

Opera House, Denison, Iowa

Opera House, Nevada, Ohio

Opera House, Hoopeston, Illinois

Opera House, Cambridge, Illinois

Turner Hall, LaSalle, Illinois

Kolter’s Opera House, Wausau, Wisconsin

Opera House Moberlv, Missouri

Krotz’s Grand Opera House Defiance, Ohio

Opera House, Montague, Michigan

Opera House Eutaw, Alabama

Opera House, Greyville, Illinois

Opera House, Carthage, Illinois

Masonic Hall, Macomb, Illinois

New Hall, Good Hope Illinois

Music Hall, Eau Claire, Wisconsin

Temperance Hall, Seneca, Illinois

Opera House, Jefferson, Iowa

Opera House, Waupaca, Wisconsin

Soldiers’ Memorial Hall, Milwaukee, Wisconsin

Opera House, Mexia, Texas

Opera House, Wilson, North Carolina

Opera House, Newbern, North Carolina

Opera House, Goldsboro, North Carolina

Grand Opera House, Cheyenne, Wyoming

Cosmopolitan Theatre, Miles City, Montana Territory

Arbeiter Hall, Ludington, Michigan

Opera House, West Bay City, Michigan

Opera House, Detroit, Minnesota

Opera House, Lockport, Illinois

Opera House, Fort Atkinson, Wisconsin

Opera House, Grass Lake, Michigan

Opera House Demopolis, Alabama

Opera House, Unionville, Missouri

Opera House, Harrodsville, Kentucky

Opera House, Hancock, Michigan

City Hall, New London, Ohio

Opera House, Stevens’ Point, Wisconsin

A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen, at this time, give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.

We take some little pride in the success of these gentlemen. It has always been, and still is, our ambition to see Chicago ahead in all matters pertaining to western dramatic affairs, and the unusual success which has attended the venture of Messrs. Sosman & Landis is a feather in the cap of our wishes.

It is true that much of the success attended these gentlemen has been due to the fact that they have proved entirely reliable in all their transactions, and that their work has always been of the very best. They take contracts to fit up the entire stage of any new house in course of erection, and we venture to say from undoubted information that no contract that they have ever undertaken has proved aught but most highly satisfactory. With their success the success of Chicago as a dramatic center is blended, and we are more than glad to see that to-day, in nearly every opera house in the West, which is under erection, the contract for fitting up the stage has been let to Sosman & Landis.’

The article mentions “five of the best scenic artists in the United States” and “their large corps of artists and stage carpenters.”  Studio staff at this time included Thomas G. Moses, Lemuel L. Graham, William P. Davis, Harry Barrow C. Barrow, Charles S. King, and Cyrus M. Crouse, and C. W. Corey.   There were certainly more individuals on staff, but I have yet to identify them.

In 1881, the firm placed numerous advertisement in newspapers across the country. No other scenic artist or studio placed advertisements at this scale. They certainly reaped the benefits of a successful marketing campaign. Here are two examples that appeared in Ohio and Texas newspapers.

On April 15, 1882, The Cincinnati Enquirer published the following advertisement:

This same advertisement was placed two weeks earlier in The Galveston Daily News on April 1, 1882 (page 3).

Sosman & Landis also began to refurbish and sell old scenery. Clients seldom had use for old scenery, especially after a stage was enlarged. The firm listing used scenery for sale.

On Feb. 11, 1882, The Cincinnati Enquirer announced, “FOR SALE – SCENERY FOR HALLS – Elegant drop curtain, 15 scenes, necessary wings, borders, &c., 23 pieces in all; new and artistic; a bargain. SOSMAN & LANDIS, 277 S. Clark st., Chicago, Ill.

A similar advertisement was published on May 6, 1882, again in The Cincinnati Enquirer:

“FOR SALE – DROP CURTAIN- Elegant drop curtain and set of scenery. 18 pieces in all; only $125. SOSMAN 7 LANDIS. 277 and 279 S. Clark st., Chicago” (page 3).

Moses was constantly on the road that year. On September 7, 1881, he celebrated the birth of their second child from afar, writing, “Ella was in Sterling with her mother…This baby girl was a reminder that I would have to earn more money, so the firm gave me $26.00 per week, as I did a great deal of extra work, all on the day rate, I never received more than straight time.”

Keep in mind that many of Moses’ scenic art colleagues were making $35 to $45 a week. This “extra work” for the firm kept Moses away from outside projects; projects that would pay much more. Studio work continued to be combination of in-studio and on-site work, with teams of artists working together. In 1881, Moses mentioned working on the road with both Graham and Davis.

Moses and Davis delivered a large stock scenery collection to the Richmond, Indiana. Davis was also a very skilled stage carpenter and mechanic.

On Sept. 19, 1881, The Evening Item described the newly refurbished Grand Opera House (p. 1). Of the Moses’ work, the article reported, “There has been added as scenery one fancy set chamber, four wings; one set plain chamber, four wings; one kitchen, and one prison, each four wings; one wood, six wings; one landscape, one perspective street, one rocky pass, one horizon, one ocean, one garden, one grand drapery border, one set tormentor wings and doors, three drapery borders, two kitchen borders, three foliage borders, one set cottage, one set bridge, four set rocks, one tree, two set waters, one foreground, one garden wall, one balustrade, two statues….the scenic work was done by Sosman & Landis, of Chicago. The drop curtain, by Thomas G. Moses is the finest piece in the entire work and really a work of art.” Moses’ assistant, William P. Davis, would later go on to establish the Twin City Scenic Co. in Minneapolis. Davis was likely one of the artists that dropped by as business increased.  In 1880, Davis was listed as an artist, living at 193 W. Van Buren. The Sosman & Landis studio was located at the intersection of Clark and Van Buren Streets. Moses also lived at 744 W. Van Buren.

Over the course of the next few years, both Moses and Davis left Sosman & Landis to partner with Lemuel L. Graham; Moses in 1883, and Davis in 1885. Graham also worked for Sosman & Landis at this time.  All three were working for the firm in Chicago during 1884.

On Sept. 28, 1882, the Unionville Republican in Missouri reported, “The grand opening of Roth’s New Opera House in this city will take place the middle of October, at which time George Kendall’s Grand Dramatic and Comedy Company will give three entertainments. The new scenery from the studio of Sosman & Landis, the celebrated Chicago artists will be used for the first time on opening night” (p. 3). The firm’s work was extremely popular with the community. On Oct. 12, 1882, the Unionville Republican reported, “Messrs. Sosman & Landis, of Chicago, at whose studio the work was done, have fitted out nearly all of the leading Opera House in the west, and their scenery both as to beauty and effectiveness ranks among the best in the country. The work they have done for Mr. Roth is no exception and will be a source of genuine surprise and pleasure to our citizens when the opportunity is offered them to inspect it. The outer drop curtain has a beautiful painting in. the center representing a scene on the Nile, with the ruins of an Egyptian temple in the background. In the foreground a group of dusky Arabs are standing near the waters edge near the ruins of a second temple. The inner curtain presents a charming illustration of one of the famous Swiss lake scenes, with an old Castle in the foreground. Beyond the broad waters of the lake the rugged mountains rise in the background giving the whole scene a beautiful winning aspect. The blending of colors in both scenes is exquisite. The scenery embraces eight distinct scenes as follows: Parlor, Kitchen, Street, Woods, Prison, Landscape, Ocean and Garden. Also, four interior wings, four exterior wings, one grand drapery, two sky borders, three set rocks, and one set cottage. Under the manipulation of a skillful stage manager many other combinations may be arranged out of the scenes. The opera House is in truth a little gem, both a credit to our city and its enterprising owner” (p. 3).

The firm’s stage carpenters were critical for on-site work and frequently mentioned in local newspapers. On Oct. 12, 1882, the Unionville Republican reported, “During the past week, Mr. C. S. King, of Chicago, one of the most experienced stage carpenters in that city, has been busy arranging the stage fittings and mounting the scenery, and by the first of next week everything will be in readiness for the opening” (p. 3). To date, I have only located seven stages that credit King with the construction. They include the Grand Opera House and Academy of Music in Minneapolis Minnesota (1881), Roth’s Opera House in Unionville, Missouri (1882), Ragsdale Opera House in Newton, Kansas (1885), Myar’s Opera House in El Paso, Kansas (1886), Crawford Grand Opera House in Wichita, Kansas (1888), and the Crump Theatre in Columbus, Indiana (1889). Yet by 1889 he was credited with over 200 stages for the firm. This means that King was one of many stage carpenters employed by the firm in the 1880s. It would make sense as King was not only a skilled stage carpenter, but also a scenic artist. In 1882 the Chicago Directory listed King ‘s residence as 320 W. Van Buren. This is the same street that was home to Moses and Davis.  

Another long-term Sosman & Landis employee working at the time was H. C. Barrow. On October 11, 1882, The Atlanta Constitution announced, “Mr. H. C. Barrows, representing Sosman & Landis, scenic artists of Chicago, put in Scheurman’s opera house a new and beautiful advertising drop curtain. The work on this curtain is nicely executed and presents a fine appearance. In the centre is a very handsome southern landscape scene, and around the border is decorated with 14 nicely arranged business cards representing different firms in the city. This curtain does not interfere with the regular drop curtain but can be used as a change at intervals during entertainment. Its cost is about one hundred and fifty or seventy-five dollars and may be classed strictly as both useful and ornamental” (p. 2). Scheurman’s Opera House was in Griffin, Georgia.

Other projects completed by Barrows over the years included: the Taylor Opera House in Jefferson, Texas;  Ghio’s Opera Hall in Texarkana, Texas; the Capital Opera House in Little Rock, Arkansas; the Pine Bluff Opera House in Pine Bluff, Arkansas;  the Academy of Music in Fort Smith, Arkansas; the Van Buren Theater in Van Buren, Arkansas; an academic hall in Salem, Illinois; the City Hall in Frederick, Maryland; the Springer Opera House in Columbus, Georgia; the Opera House in Vicksburg, Mississippi; and the Opera House in El Paso, Texas.

Cyrus M. Crouse (1837-1899) was also on staff near the beginning. In 1880, his residence was only a few doors down from the studio, at 253 Clark. Over the years, newspaper articles listed Corey as a stage architect, stage carpenter and master mechanic. On September 2, 1882, the “Montgomery Advertiser” listed Corey as the stage architect for a new theatre in Montgomery, Alabama. This was possibly his first project with the firm. On Dec. 1, 1882, the “Pensacola Commercial” reported, “Mr. C. W. Corey, stage carpenter, of Chicago, Ill., arrived in the city last Wednesday, and has gone to work with a good force on the stage of the new opera house, and will have it ready for Ford’s company, who have an engagement here beginning on the first of January” (page 3). Both Barrows and Corey were working together in Vicksburg, Mississippi, when Sosman & Landis delivered scenery and stage machinery to the opera house. For this project, Barrows was painting, with Corey installing the scenery.

The Sosman & Landis staff in 1881 and 1882 relied on several individuals who could work on projects as either scenic artists or stage carpenters. This was key in keeping overhead down as the firm tried to amass funds to build a studio.

Other Sosman and Landis projects not listed in the 1882 Macomb article, those completed early in 1881 and late in 1882, included opera houses in: Appleton, Wisconsin; Moberly, Missouri; Topeka, Kansas; and Strong City, Kansas. Of the stage in Appleton, Wisconsin, The Nennah Daily Times reported, “The new opera house in Appleton is first-class…There are twelve changes of scenery painted by Sosman & Landis, of Chicago” (9 Dec 1882, p. 4). On Dec. 21, 1882, the Emporia Republican in Kansas reported that the Strong City Opera House had “been fitted up by Sosman & Landis, scenic artists of Chicago, and it is a gem of an opera house” (page 1).

In the early 1880s, Sosman & Landis were taking the nation by storm. By 1882, Sosman & Landis also managed offices in Chicago, New York, and Kansas City.

To be continued…

Copyright © 2023 by Wendy Waszut-Barrett

Some information about Sosman & Landis in 1880 comes from the personal memoirs of Thomas G. Moses (1856-1934). He was the first scenic artist hired by Joseph S. Sosman during the spring of that year.

Thomas G. Moses portrait in the Inter Ocean, 28 Feb. 1886.

When Moses met Sosman, he was 24 years old and had been working as a scenic and decorative painter for seven years. He had worked throughout the region after training at P. M. Almini’s and McVicker’s Theatre as Louis Malmsha’s assistant (1873-1874). Of his mentor, Moses remembered, “He was a very clever man. In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work.  Very simple in drawing and color, but very effective.” In many ways, working for Malmsha “set the stage” for Moses’ career. He learned both an economy of brushwork and speed. This skill set was an incredible asset to any employer, especially since studio profits increase as paint labor decreases.

Although Moses had started his painting career in Chicago, love brought him back to his hometown of Sterling, Illinois, in 1878. He married his childhood sweetheart and soon celebrated the birth of their first child. Between 1878 and 1879, Moses primarily worked in his hometown as a scenic artist, fresco artist, and decorative painter. In the beginning, work was plentiful. His name made frequent headlines. Their first home is is still standing! I had the pleasure of photographing the building on July 20, 2019, when I passed through town.

Thomas G. Moses’ home in Sterling, Illinois. Photograph by Wendy Waszut-Barrett, July 20, 2019.

Original photographs are part of the Illinois Digital archives.

n.a., Homes, Sterling, Illinois, Thomas G. Moses Residence, 508 East 7th Street, Sterling and Rock Falls Local History Collection (Illinois Digital Archives), 2023-12-05, http://www.idaillinois.org/digital/collection/stpl/id/1999.

 n.a., Homes, Sterling, Illinois, Thomas G. Moses & Susan Ella Robbins Moses Residence, 508 East 7th Street, Sterling and Rock Falls Local History Collection (Illinois Digital Archives), 2023-12-05, http://www.idaillinois.org/digital/collection/stpl/id/1783.

On Nov. 30, 1878 the Sterling Gazette reported, “Ten full sets of scenery including parlor, chamber and kitchen scenes; a river, sea, street, woods, prison, landscape and garden scenes comprise list of scenery. Those were painted by our townsman, T. G. Moses, and we need not tell those familiar with his work that they are finely done. The work alone will give him a reputation as a scenic artist, everywhere that it is known” (page 8). His decorative painting for Sterling’s Commercial College was also praised in the Sterling Gazette that same day. The second article reported, “The first floor is divided into three parts, making three of the most elegant store-rooms in the city – two of them are fifty feet front, the third forty-three. They are beautifully paneled and frescoed by T G Moses.” The stream of initial projects soon slowed to a trickle. Moses began to look for work in neighboring towns. The distance that Moses had to travel for work continued to increase as the months passed.

Although he tried to remain in his hometown, there was not enough work to pay the bills. In his memoirs, Moses remembered, “The winter was coming on and the outlook was anything but bright.  I was earning on an average about $75.00 per month.”  He knew that he needed a stead paycheck from an employer, even if it was less than he could make on his own.

Moses did not relocate to Chicago until that spring. His last project in Sterling was completed in early February. On Feb. 7, 1880, the Sterling Gazette reported, “We called at the office of Pollock Bros. one day this week and was shown their rooms.  They have added another operating room on the same floor, which has been recently painted and frescoed. Much credit is due to Thos. Moses, for the excellent taste displayed. The oil paintings on the ceiling are elegant showing skill rarely met with” (page 8).

His final project in the area was a Presbyterian Church in Dixon, about 12 miles away from Sterling. The job did not go well. Moses wrote, “The last job from Sterling I did was the Presbyterian Church in Dixon, and I did them a good job, but the chairman of the decorating committee was not a man of honest dealings, and I quit the whole Western part of the state in a ‘huff’ and went to Chicago, alone, to see if I could find anything.”

Moses started at the doorstep of a former employer, the decorating firm of P. M. AImini.  Of the interaction, Moses wrote, “I had been away so long that my case didn’t interest them.”  He then headed to the new scenic firm of Sosman & Landis.  The decorative firm of P. M. Almini was located at 231 Wabash av., near Jackson. This means that the studio Sosman & Landis was only six blocks away. Moses wrote, “I had heard of Sosman and Landis and they knew of me.  I called on them, met Mr. Sosman, and settled to go to work for them for $18.00 per week, rather small pay, but I could only get about $24.00 at Almini, and that was not steady.  I had no alternative, so I settled to go to work at once.”

I need to provide some context for the weekly salary of $18 offered by Sosman in 1880.  Six years earlier, Moses had earned $21 a week at Almini’s. He was 18 yrs. old at the time. His salary increase had been rapid at the decorating firm going from $4 a week had increased to $21 a week over the course of a year. This likely validated Moses’ belief that hard work and determination would be rewarded by an employer.  

In the beginning, Moses boarded with his friend Will T. Fuller at 428 W. Van Buren. At the time, Fuller was working as a salesman at 103 State. Both lived above the jewelry store of Oresta W. Young and his family at 428 Van Buren. Oresta Woodworth Young (1847-1923) was a jeweler and watchmaker, living with his family. The 1880 Census report listed that the Young household included: O. W. (32), Jennie (wife, 27), Frank (son, 4), June (daughter, 1 mth.), Ida Berkley (sister-in-law, music teacher, 17), Mary Mastisen (servant, 19) and William Fuller (boarder, 21). Young was also listed at a second residence at 744 W. Vanburen.

Ella and baby Pitt remained in Sterling until the end of May when Moses relocated his family to Chicago, settling his family down the street from his previous boarding house.  Their new home was 744 Van Buren, on the corner of Robey. The house next door was also occupied by Oresta Young. Interestingly, I located the rental listing for Moses’ hous. On April 18, 1880, the Chicago Tribune listed the following in the section “TO RENT – HOUSES. West Side-Continued”-

744 Van Buren-2-story brick, $30. Edward A. Trask, 181 West Madison-st” (page 14).

Advertisement that was published in the Chicago Tribune just before Thomas G. Moses rented the home.

I was surprised to discover the reason why the house was changing tenants. The previous owner, Frank Van Osdel, had been severely injured in a freak accident during Dec. 1879. Osdel and Frank Piercy, employees at Crane Bros., were boxing in an elevator shaft when the scaffolding failed, with each falling to the bottom. Piercy was killed instantaneously and Van Osdel was severely injured (Chicago Tribune 20 Dec. 1879, p.1). It was Van Osdel who resided at 744 West Van Buren.

Moses’ father (Lucius M. Moses), stepmother, sister, and two young step-brothers also moved to Chicago that year. They were listed at 331 Randolph Street in both the 1880 Lakeside Directory and the Census report. Lucius sold his tannery business in Sterling, but continued to work as a harness maker.

After starting with Sosman & Landis, Moses was immediately sent on the road to Kenosha, Wisconsin, to paint stock scenery for Kimball’s Opera House. He recorded that this project began on April 19, 1880.

Kenosha was a sizable town of 7,000 citizens, located approximately 35 miles from Milwaukee and 10 miles from Racine. On April 29, 1880, The Telegraph-Courtier of Kenosha, Wisconsin, reported, “Mr. Kimball is having six scene and a new drop curtain for his hall painted by two of the best scenic artists in Chicago, Messrs. Sosman & Landis.”  It is understandable that Moses was mistaken for Landis, as he was working with Sosman on site. Over the years, this case of mistaken identity would repeat itself, fueling the myth that Landis was also an accomplished scenic artist.

Moses started the project alone, writing, “Sosman joined me in Kenosha after I had gotten started and painted the plain interior and kitchen and some set pieces.  We were soon through and back in Chicago.” However, it wasn’t long until Moses was on the road again.

Projects that summer included an advertising curtain in Steven’s Point, Wisconsin. On June 12, 1880, Stevens Point Daily Journal reported, “H. D. McCulloch has decided to change his drop curtain in the hall to one of the elegant affairs gotten up by Messrs. Sosman & Landis, Chicgao, being a beautiful landscape with advertisement of the prominent business houses of the city” (p. 5).

Image of the opera house on H. D. McCulloch Block, later known as the Silvermint Arcade. Here is the link to the image: https://www.wisconsinhistory.org/Records/Property/HI72865

Advertising curtains were typically paid for by businesses and gifted to theaters.  The spaces were either purchased outright or rented. This was a way to collect cash for a product before it was installed. These type of projects were a quick way to access cash, as a group was financing the project.

In Winona, Minnesota, the firm was credited with painting a new advertisement curtain for the Philharmonic Hall stage in July 1880. On August 2, 1880, the Winona Daily Republican reported,

“The new drop curtain which was mentioned some time since in THE REPUBLICAN has been completed and placed in Philharmonic Hall. It is the work of Messrs. Sosman & Landis, scenic artists of Chicago, and is a finely executed piece of work. The scene is a view of a city, the foreground consisting of a river with a large, fine bridge spanning it, upon which teams and carriages are crossing. Several boats are plying in various directions, as team tug towing a couple of barges being the central objects. Back from the rive fine blocks of buildings rise in a succession, the spires of churches and domes of public building adding a fine variety to the scene. In the distance a low range of hills are visible, while in various portions of the city fountains and columns are tastefully interspersed. As to the merit of the work the perspective is excellent, the colors good, and the production is certainly not the achievement of a novice. At the border of the curtain is a row of advertisements which are well arranged and indicate that the idea was well received by our prominent merchants. The curtain is not intended to take the place of the old one, but is simply another curtain if the same size hung back of the first one to be used between scenes and acts only” (p. 3).

That fall, the firm was also credited with stock scenery for the new Turner Hall in Menasha, Wisconsin. The theater opened on Oct. 14, with the New Orleans Minstrels as the first entertainment (The Saturday Evening Post, 14 Oct, 1880, p. 2). The firm’s new scenery was a grand success. On Oct. 28, 1880, The Saturday Evening Press reported, “The scenery, all that was exhibited was very fine, and in this connection, the Society wish to return thanks to the firm of Sosman & Landis, of a Chicago Scenic Studio, who painted the scenery, for the excellence of the work, and fairness of the prices, and the Society is ready at any time to recommend them as a first class firm in every respect” (p. 3).

Advertisement for the Philharmonic Hall on July 2, 1880, in the Winona Daily Republican.

This marks the standard operating procedure for the firm; one that would continue even after the passing of both partners. Sosman & Landis did not require payment for the scenery prior to installation. A portion was due upon installation, with the remainder in the form of a few scheduled payments.  An announcement published in The Saturday Evening Press on Dec. 2, 1880, stated, “A grand leap year party is to come off at the Turner hall, Dec. 27^th. The proceeds are to be applied to paying for our new scenery” (p. 3).

In the beginning, Moses and Sosman worked as a team, one step behind Landis as he contracted projects. Of this time, Moses wrote, “Sosman and I had to travel a good deal as Mr. Landis was on the road all the time securing orders for advertising curtains, and I didn’t see him until I had been there nearly six months.  As the business increased, we put on a paint boy.”

This meant that Moses started out as a combination of scenic artist, assistant, and paint boy. Sosman & Landis were certainly getting their money’s worth in the beginning. However, as their workload increased, other scenic artists took notice.

Moses wrote, “Then the artists began to drop around.  They all wanted $35.00 or $45.00 per week and told me I could get that much in the theatres. I began to think I was worth more as I had proven that I was a hustler.  My work might not have been as artistic as some I saw in the theatres, but it pleased the people who paid for it.”

The seeds of discontent were sown. Moses knew that he should be making a much larger salary; one that was at least twice his current rate. Reflecting on 1880 in his memoirs, Moses wrote, “My career as a scenic artist starts from here.  I was full of ambition and hustle.  If I had been endowed with a like amount of ability, I would have set the world on fire.  It was all hard work.” I find it interesting that although Moses had painted dozens of sets for the theater by this time in his career, starting with Sosman & Landis signaled something special. He remembers it as his beginning; a beginning that coincided with the first full year of the firm.

By the spring of 1881, Moses’ salary was increased by $2 a week, but it wasn’t enough. Moses began picking up extra work at the Academy of Music, working for Lemuel L. Graham. Sosman & Landis must have recognized that Moses was planning to leave, as he was offered $26.00 a week that fall with the idea that he would not take outside projects. Moses’ raise coincided with the birth of their second child.

The scenic art scene was rapidly changing in Chicago. New drop curtains by well-established artists that year included:

Matt Morgan, Academy of Music (Chicago Tribune, 21 Dec. 1880, p. 3)

Lou Malmsha and J. H. Rogers, McVicker’s Theatre (Chicago Tribune, 1 August 1880, p. 2)

Charles G. Petford, Hooley’s Theatre (Chicago Tribune, 8 Aug. 1880, p. 12)

George Dayton, Hamlin’s Grand Opera-House (Chicago Tribune 15 Aug. 1880, p. 12)

Not all were living in town, or being listed in the city directories. For many, Chicago was simply another stop in the region. They came, made headlines, and headed to the next project. Henry C. Tryon, another future employee at Sosman & Landis, also worked in a variety of cities at this time.

In 1880, however, he was in Chicago long enough to write a letter to the Chicago Tribune Editor. At the time, Tryon was associated with McVicker’s Theatre in Chicago, working as an assistant to both Malmsha and Rogers.

Here is Tryon’s article in its entirety, published on Dec. 19, 1880:

“SCENE PAINTING.

Some hints to the Public Regarding a Special Department of the Painters’ Art Not Well Understood.

To the Editor of The Chicago Tribune-

Chicago, Dec. 18.-

Theatrical scenery is painted in “distemper,” dry color being mixed with a vehicle consisting of glue and water, much the same as is used with whiting for calcimining rooms. Stage scenery and drop-curtains are never painted in oil colors. While the color is less brilliant than when mixed with oils (the artist being compelled to get his brilliancy by skillful arrangement of dull color), the glare of varnish and oil is avoided which would destroy the realism of the scene. Scenery, then, being painted in watercolors, the danger from fire is much less than popularly supposed; in fact, when it does take fire, it burns very slowly for a long time. The canvas is much less combustible than before being painted. Scenes painted on both sides are almost fireproof.

The qualities required of a first-class scenic-artist are of a much higher order than is generally supposed, and the technical difficulties to be overcome to produce any brilliant effect whatever for the stage are so numerous that, with a thorough knowledge of drawing, color, and composition, and the clearest possible idea on the part of the artist of what he desires to do, he will fail utterly, without great practice, to convey to the audience the effect that he may have already, in his brain, arranged in the clearest and most tangible shape. The artist in oil colors can produce any effect which his mind conceives. The scenic-artist must first overcome many very difficult obstacles. One of the chief difficulties arises from the fact that the colors dry out several shades lighter that they are when applied. (Throw a little water on the floor and the difference in color will illustrate this difficulty). The artist is compelled to paint with one color while thinking of another. He must think with every brush mark how the colors will “dry put.” The difficulty in doing this can be imagined when it is considered that all exterior scenes are painted from a pallet making a constant change of thousands of different tints. Then the effect of a night light is a serious drawback. Whoever has observed the changes in the colors of fabrics from the light of day to the artificial light of gas must have noticed how some colors are heightened and others dimmed by being brought under the yellow gaslight.

The scene-painter working in the broad glare of day must consider with every brush mark the effect of this gaslight on his color. A brilliant effect by daylight may, under an artificial light, be entirely destroyed, and also the reverse holds true; but must not be accident with the scenic-artist.

Do the audience in the theatre ever realize the immense difficulty of painting a scene while within three or at most four feet from the canvas, to produce the proper effect at a distance of fifty to 150 feet, the artist being compelled to see his work in his mind’s eye this distance, when his first opportunity to see his entire work is after it has been finished and on stage? The result of constant practice in this direction is, that, as he acquires knowledge, and consequently power and decision, he gradually choses larger brushes, until the skillful artist is enabled with the roughest and apparently most hideous “swashes” of the calcimining brush to produce effect as soft, tender, and full of appropriate  meaning as is done by the most labored, painstaking care on smaller surfaces by many landscape painters. In scene-painting, as in all other art, it is only the novice who takes the life out of his work by petty, contemptible smoothing down with small brushes. “Pictures are made to be seen, not smelled,” said Reynolds. In decorative painting mechanical finish is the important requisite, but in scene-painting it is no more an excellence than is mechanical finish in any other art.

The popular impression is that because scenes are thus painted with broad, bold, rough marks it is scarcely more than a grade or so advanced beyond mere decorative painting; but think for a moment of the knowledge of drawing, perspective, composition, and color required to enable the artist to produce on these large surfaces a scene which to the audience must be realism, when he can only see at any time a limited portion (say ten feet square) of his work – on a “drop” say thirty feet by fifty – while working within three feet of his canvas, and to be seen across a large theatre. The fact is, that a scenic artist is able to paint a small picture with much greater ease and readiness that he can with his theatrical work, because he has the knowledge to paint the small subject without very great obstacles attending his work on the large canvas.

Another thing to be considered in this connection: The scenic-artist does not always – in fact, seldom- have the leisure to do work at his best. He has neither the time nor opportunity to correct his work. When a picture is finished in an artist’s studio the artist sees where a change here and there will enhance the value of his work and can perfect it. The scene-painter must call his work “a go” and start on the next scene. “We press your hat while you wait,” is the sentiment. The manager comes to the artist, and says we want a street – Paris, 1600 – to-night. He must have it then, though the heavens fall. “Time, tide, and managers wait for no man.” Many times in the experiences of all scenic-painters are they obliged to work thirty-six hours at a stretch, their meals brought to them, and stopping for nothing else, each of those hours working against time, with no sentiment other than to get through, get out of the theatre and to the rest that exhausted nature loudly demands. Still, he must be criticized on this very work. The audience doesn’t know anything about his having worked all day, and all night, and all day.

The great scenic-artists of the world are great artists, and so recognized in the world of art. Poor dead Minard Lewis was the very Prince of scenic artists, and his genius was the wonder and admiration of every artist of every department of art in New York. Yet the theatre-going public who for thirty or forty years had admired and applauded his beautiful work did not know or care to know his name.

The position of scenic-artist in a first-class theatre is one of great responsibility, which is properly recognized “behind the curtain line,” but the general public has no interest in the personality of the scenic artist, supposing in a vague sort of way that the manager paints the scenes. It is no unusual thing for scenery to be lavishly commended by the press and public, the manager receiving the press and praise for his “enterprise, taste and liberality,” while the artist whose brain and hand has created it all is never mentioned or even thought of. Scene-painters, like all other artists, have their ambitions, and are grateful for proper and honest appreciation. Much injustice has been done to them (perhaps through thoughtlessness) by the public press and this is strongly felt by every scenic-artist. If the newspaper dramatic critics would take the same interest in the scene-painters themselves that they do with other individual members of the theatrical business and that they do with other artists, and would find out under what adverse circumstances they generally labor, their sense of justice would cause them to be more discrimination in their reports. If a theatre during an extended period is uniformly negligent in the matter of scenic accessories, it would be but simple justice for the public critics to inquire whether it is due to the incompetency of the scenic-artist or to the economy of the manager. The truth in this matter can always be easily discovered, and when blame is laid, as it frequently is, it should not be done in loose and indiscriminate manner which injures most the artist who is frequently not to blame. If the dramatic critics would visit and become acquainted with the scenic-artists they would be welcomed, and would perhaps gain in the interest of dramatic art and progress some ideas from that unknown and unthought of portion of the theatre 9the paint gallery) that would be a revelation to them. The sooner the press and public recognize the scene-painters as artists and deal with them individually as with other artists – commending or condemn them on their own merits, – the better it will be for the elevation of scenic art.

            -Henry C. Tryon”

This likely caught the eye of Sosman. By 1882, Tryon began working for the firm. This was immediately after he delivered scenery to the Salt Lake Theatre in 1882.

To be continued…

Copyright © 2023 by Wendy Waszut-Barrett

In 1891, Perry Landis explained to a reporter why he and Joseph Sosman selected Chicago for their first studio:

“…we were totally unknown, and New York presented a good deal of formidable competition. It’s the name you want in our business, and, at that time, we hadn’t got it.”

For years, I have tracked down artists who specialized in theatre scenery, those specifically listed in US City Directories.  It has been a daunting task, but my research has helped me track the movements and demographics of scenic artists between 1850 and 1900. I have been able to explore shifts in occupational title as artists journeyed from one region to the next. Their job titles included scenic artists, scenery artists, scene artists, scenery painters, scene painters, and scenic painters. Some even omitted their occupation entirely in City Directories, or just went by artist or painter.

While entering scores of names, addresses, and dates, I noticed that many metropolitan areas east of Chicago were saturated with established artists. I completely understand why Sosman & Landis didn’t set up shop in New York, Boston, Philadelphia, Baltimore, Cincinnati, Columbus, Indianapolis, New Orleans, or San Francisco. These cities already hosted generations of scene painters.

Although there was an abundance of work, it would have been a struggle to compete with more well-known and established artists. In short, there were too many artists in the eastern cities with long-standing reputations at specific entertainment venues and touring groups. Unless you were apprenticed to one of these master painters, it could have been difficult to get the most lucrative jobs with steady employment.  Although the demand for painted scenery was greater than the supply of artists, location mattered. Connections were key in established markets. 

In 1879, Chicago was still in the process of rebuilding itself after the Great Fire of 1871. This meant new construction, new buildings, and new transit lines. It also meant new theaters and new management. Any scenic art hierarchy that existed before the fire was long gone. In fact, many scenic artists had left Chicago in search of other work elsewhere across the country, settling into new venues and establishing new partnerships. This meant that those venturing west had little competition for a few years. In fact, Sosman & Landis was the only firm listed in the scenic artist section of the 1880 Chicago Directory. They had arrived in town the year before, quickly setting up shop on the south-side of Chicago.

In 1879, Sosman & Landis leased their first studio at 277 and 279 South Clark Street. Their space was in a multi-purpose building, located at the northeast corner of Van Buren and S. Clark.  See the location below – marked with a red star.

Sosman & Landis’ first studio at the corner of Van Buren and Clark streets in Chicago. Here is a link to the full 1880 Mitchell map: https://upload.wikimedia.org/wikipedia/commons/3/3f/1880_Mitchell_map_of_Chicago.jpg

The Studio Building

Rental advertisements published in the Chicago Tribune provide some insight into the rental spaces at 277 and 279 South Clark street. There were several retail spaces, dozens of residential units, and a large hall.

For example, on April 12, 1873, the Chicago Tribune listed:

“TO RENT – STORE 20×50 IN BRICK BUILDING, on the south side; first-class location for a good drug store. Also two others, same size, suitable for dry goods or boot and shoe. Call or address Room 6, 279 Clark-st., corner Van Buren” (page 7)

 On Oct. 31, 1875, the Chicago Tribune published:

“TO RENT – CHEAP – OFFICES AND SLEEEPING rooms in the building known as 277 and 279 South Clark-st. A large hall suitable for lodge or society purposes, in building 277 and 279 South Clark-st. Also basement 279 South Clark -st…Inquire of GEO. G. NEWBURY, Rooms 8 and 9 Bryan Block, or the OWNER, 279 South Clark-st” (page 15). For additional context, George Gardner Newbury (1842-1912) was a real estate agent and loan broker. At the time of his passing, his obituary remembered him as “one of the oldest real estate men in Chicago” (Chicago Tribune 3, Jan. 1912, p. 11).

Another rent ad published in the Chicago Tribune on April 8, 1877, announced:

“TO RENT – SECOND AND THIRD FLOORS of 277 and 279 South Clark-st. containing 26 rooms with all conveniences. Inquire of GEORGE G. NEWBURY, Rooms 8 and 9 Bryan Block” (page 13).

The Sosman & Landis Studio was strategically situated between two public transit lines and a railway depot. Known as the Rock Island Depot, the station housed the Chicago, Rock Island and Pacific R.R., as well as the Lake Shore and Michigan Southern Lines. Close proximity to a railway hub was important for theatrical manufacturers to succeed, especially if they planned to import skilled labor and export product.

1886 Robinson Fire Map showing the location of the train depot, located one block west of Sosman and Landis on Van Buren.

Although a few studios advertised “scenery to let” at this time, Sosman & Landis advertised mail-order scenery. In fact, they may have been the first US scenic studio to offer this service. Sosman & Landis placed an advertisement in the Chicago Tribune on May 17, 1879:

“SCENERY FOR HALLS – AN ELEGANT Landscape drop-curtain, only $30; parlor scene, $18; wood scene, $18; street scene, $18, kitchen scene, $15; prison scene, $15, all new and first-class suitable for small halls or amateur societies. Can be shipped to any part of the country. SOSMAN & LANDIS, 277 and 279 South Clark-st., Chicago” (page 3).

1879 Sosman & Landis advertisement.

I really wonder if Sosman & Landis rented the great hall in the building at 277 and 279 South Clark Street. It certainly made sense as they needed room for construction, sewing, painting, and storage. Also, if there had been an existing stock scenery collection in the hall, it that could have been removed, refurbished, and immediately sold.

The Neighborhood

In addition to exploring the various rental spaces at 277 and 279 South Clark Street, I identified 47 individuals living in the building during 1880.  Occupations listed for the residents included carpenter, blacksmith, tinsmith, printer, clerk, bookkeeper, tailor, shoemaker, broker, and speculator.

This heavily-trafficked neighborhood was home to a variety of individuals from varying ethnic and economic backgrounds. The area was diverse, albeit somewhat rough. In fact, a portion of the neighborhood was even labeled “whisky row.” Newspaper articles and public records described robberies, fist fights, shootings, suicides, and homicides. Perusing newspaper accounts between 1879-1880 indicated an interesting mix of people, organizations, and activities.

There was also an incredible amount of good that was done in the area – missionary work, charity, and black activism – all at the intersection of Clark and Van Buren Streets. A few particular groups caught me eye as I read through hundreds of articles from 1879-1880.

This intersection was considered one of the “great thoroughfares” for the Yoke Fellows. They frequented the crossroads of Clark and Van Buren. This group was described at the 1879 YMCA convention. A. T. Henningway stated, “The Yoke Fellows seek to reach young men of each class by Christian young men of that class in their own band.” At the same convention, President D. L. Moody said, “I was among the “yoke fellows” in Chicago a few years ago, and spent with them some of the pleasantest hours of my life. They would pray together and then start out, every man to his post, upon the four corners of the great thoroughfares, before all the hotels, and in public places generally. And a man could not get within one mole of their head-quarters without receiving an invitation” (Proceedings of the 23^rd Annual Convention, 1879, p. 50).

The Pacific Garden Mission was also situated at the corner of Van Buren & Clark. It was a homeless shelter founded in 1877 by Colonel George Clarke and Sarah Dunn Clarke, taking its name from the former tenant, a saloon known as Pacific Beer Garden. Instead of changing the sign, Clarke painted out the word “beer” and added “Mission.” Pretty clever and thrifty. 1880 advertisements for services at the Pacific Garden Mission announced, “all were welcome” (Chicago Tribune, 4 March 1880, page 8). The Mission still exists and is considered “the nation’s oldest rescue mission working to change lives through God’s transformative love.” Here is their website: https://www.pgm.org/who-we-are/our-history/#:~:text=The%20Mission%20began%20in%201877,speaking%20eloquently%20of%20God’s%20love.

In addition to religious outreach, there was also a significant amount of black activism. Pacific Hall, was host to a variety of groups, including Company A of the “Sixteenth Battalion, I. N. G. (colored).” This group started out as the “Hannibal Zouaves,” organized by Capt. Robert E. Moore as an independent black militia company, but was later designated as Company A, 16^th Battalion Illinois National Guard. On March 30, 1879 the Chicago Tribune announced:

“Ward Meetings Monday. First Ward – The Hannibal Zouaves, Company ‘A’ will celebrate the anniversary of the adoption of the Fifteenth Amendment at Pacific Hall, corner Van Buren and Clark-sts. Speakers are Gen. O. L. Mann, E. R. Bliss, M. F. Tarble” (p. 8).

In fact, their first annual entertainment at Pacific Hall included “Forty-five handsomely uniformed and well equipped colored men were in the ranks and they marched well and went through the manual of arms fairly. It is said that the company can muster seventy men in all, but there are not enough uniforms for the whole number” (Chicago Tribune, 1 April 1879, p. 8).  Their events were often advertised as “a grand military bal masque” (Chicago Tribune 18 Jan 1880, p. 12).

In 1880, the Pacific Hall also hosted a meeting discussing “colored people desirous of holding a convention to elect delegates to a State Convention” (Chicago Daily Telegraph 30 June 1880 p. 1). The Chicago Tribune announced this “mass meeting of colored men” at the Pacific Hall reporting, “Judge William Bord of Cairo, reviewed the political situation from the standpoint of colored interests, and urged that there should be no division, but that the colored people should work as one that they might be a factor in State, city, and National politics. The elevation of the negro should be their aim, and to that end all their thoughts and actions should be directed” (12 Oct 1880, p.8).

Pacific Hall was also rented by the Monaco Club, a group described in the Chicago Tribune as “a colored organization” (27 Oct, 1880, page 8). Two of the other groups that used the hall included the Sabbath School Union and the Love and Charity Society.

The First Studio Staff

The same year that Sosman & Landis leased studio space on Clark, Perry’s younger brother, Frank Landis, was brought on as a salesman. He traveled throughout the region, securing scenery orders for the firm.

On August 16, 1879, the Atchison Daily Patriot announced, “Frank Landis, representing the firm of Sosman & Landis, is in Atchison” (page 4). As the firm’s project load increased, there was a need for additional staff. In the beginning, Sosman painted all of the scenery, with the hwlp of Landis when necessary. For larger projects, they used a few local hires. This is also how Sosman entered the scenic art profession; he assisted Tom Harrison painting scenery at Chandler’s Opera House in 1873. At that time, Sosman was a local hire. In Macomb, Illinois, Sosman primarily worked as a decorative artist and sign painter.

Thomas G. Moses (1856-1934)

Thomas G. Moses was hired by Sosman in 1880. Moses walked into the studio on Clark Street. He was in the right place at the right time. Landis was on the road and Sosman needed help. In his memoirs Moses wrote: “I had heard of Sosman and Landis, and they knew of me.  I called on them, met Mr. Sosman, and settled to go to work for them for $18.00 per week.”Moses was only living a few blocks away from the studio, at 428 Van Buren.

A view from the intersection of Clark and Van Buren Streets.

Of his home on Van Buren, Moses wrote, “We had four rooms, second floor, in a brick building, $11.00 per month…We set our table on $3.00 per week and lived well.”

Sosman and Landis leased their own private residence on the west side, at 177 S. Peoria. However, the public transit line ran along Van Buren street, so their studio was only a short ride away.

Between In 1881, Landis married Nora Fessler and rented an apartment just a few doors down on the same street. Sosman remained at 177 South Peoria, with Landis and his wife living at 173 South Peoria. Want ads describe the house at 173 South Peoria as having ten rooms (Chicago Tribune 1 May 1872, p. 7).

Sosman & Landis did not remain on Peoria street for long. In 1882, the boarding and lodging section of the Chicago Tribune listed “177 South Peoria-St. – a south and east front room, well furnished with first-class board for gentleman and wife or two gents” (26 Feb 1882, p. 12). Both Sosman and Landis moved a block west, securing a residence at 155 S. Sangamon.

To be continued…

Travels of a Scenic Artist and Scholar. The Forum in Bronzeville, Chicago, Illinois, Sept. 28, 2023.

Copyright © 2023 by Wendy Waszut-Barrett

The Forum Theatre on July 18, 2023.

Interior of the hall and stage at The Forum. Sept. 28, 2023.

A remarkable Sosman & Landis drop curtain was discovered on the south-side of Chicago this year.  On Thursday, Sept. 28, 2023, I scheduled a visit to examine it and other historic scenery at The Forum in Bronzeville. Located approximately six miles south of Chicago’s Loop, the building is situated on the northwest corner of East 43rd Street and South Calumet Avenue. It is immediately east of 43rd Street ‘L’ Station, making it very accessible from other areas of the city. The Forum is part of the Grand Boulevard community, with other Bronzeville communities including Douglas and Oakland. The stage is situated on the second floor with retail spaces below.

Here is a link to The Forum website: https://www.theforumbronzeville.com/

The Forum scenery collection first came onto my radar this summer. On July 18, 2023, Brian Traynor sent me a photograph with the text, “Guess what I’m looking at.” It was a Sosman & Landis signature on the corner of a drop curtain. 

Photograph texted to me by Brian Traynor on July 18, 2023.

This prompted a flurry of exchanges, with me asking for more information.  Traynor was at the Forum with Mary Margaret Bartley and several other Forum stakeholders. After visiting the Forum earlier that year, on an open house day, it was Bartley who set the wheels in motion to unroll and examine the drops with Traynor in tow.

On July 19, I spoke with Bernard Loyd, PhD, current owner of The Forum. He is also the founder and president of Urban Juncture and on the Build Bronzeville Team.

Bernard Loyd. Here is a link to his bio: https://www.buildbronzeville.com/bernard-loyd

Occasionally, you meet a person who radiates so much positive energy that they instantly draw you into their vision. That is what happened to me when I shook hands with Loyd and ascended the Forum’s grand staircase during my visit. The energy radiating from both Loyd and the building are palpable, creating an inescapable pull to this project as you envision the potential. You don’t even have to shut your eyes to imagine what this space once was, and what it could be again.

The Forum was placed on the National Register of Historic Places. Here is a link to the report: https://npgallery.nps.gov/GetAsset/173ee985-447e-46a1-8654-a1ebfdae0bc1

Loyd’s fight to preserve the Forum from the wrecking ball is part of a much larger movement in within the neighborhood. In 2019, Three years later, the the Bronzeville-Black Metropolis National Heritage Area was established with the hope of preserving more than two hundred locations between 18^th and 71^st Streets. 

During my visit we unrolled the scenery and discussed the subject matter, use and current condition of the collection.

Michael Beavers and Brian Traynor preparing a roll drop for storage.

Here are the rolls of scenery that were discovered by Michael Beavers in the attic.

Loyd contacted Book Club Chicago journalist Jamie Nesbitt Golden to be there and possibly write a story about the significance of the painted scenes. Colin Boyle. Also, in attendance that day were Book Club Chicago photographer Colin Boyle, Michael J. Beavers, Brian Traynor, and Ayana Simone Loyd.

Left to right: Brian Traynor, Bernard Loyd, Colin Boyle, Jamie Nesbitt Golden, Ayana Simone Loyd, and Michael Beavers.

Here is the link to Jamie Nesbitt Golden’s article with pictures from our visit that day: https://blockclubchicago.org/2023/10/01/bronzevilles-the-forum-uncovers-century-old-hand-painted-scenic-theater-backdrops/

After our visit, Loyd followed up with an email to the group. It ended with his writing:

“I can’t help but comment on how the Forum drop seems like a perfect metaphor for both The Forum and the Bronzeville community, of which The Forum was a central hub.  They’ve all been challenged, battered, and all but discarded, but against all odds they’ve survived and they’re still incredibly rich and connected.  As we figure out how to tap into that cultural wealth and reactivate those dormant links, we will bring the drops, The Forum, and our community back to their full vibrancy.”

You may see why I am compelled to help Loyd and the Forum History Team. Seldom do I meet a theatre owner who immediately understands the cultural significance of the extant scenery.

My post could end here with some lovely shots of the scenic art. This is far too great of a cultural discovery to dismiss. For the past few days, I decided to do some extensive research for the Forum History Team, placing this scenery collection within the context of local, regional and national histories. 

This project also ties in with my current research regarding marginalized groups in technical theatre history, those that were often left out of theatre history books. For the past few years, I have been exploring the lives and careers of 113 Sosman & Landis employees, a firm that employed both women and people of color. When people were not included in written histories, it does not mean that they were not present.

The Forum Scenery Collection

The Forum’s historic stock scenery collection includes a drop curtain, landscape, street scene, grand border, and three sky borders (light blue).

Drop Curtain and grand border delivered by Sosman & Landis to The Forum in 1897.

Painted detail on drop curtain with extensive water damage.

Street Scene roll drop delivered by Sosman & Landis to The Forum in 1897.

Painted detail on street scene.

Painted detail on street scene.

Landscape roll drop delivered by Sosman & Landis to The Forum in 1897. Brian Traynor (left) and Michael Beavers (right).

Painted detail on landscape drop.

These seven tattered and water-stained pieces are all that remain of the Forum’s original stock scenery collection, delivered by Sosman & Landis Scene Painting Studio in 1897.

For context, when a stage does not have space above the stage to raise painted scenery, the only viable option is to used roll drops or framed shutters.

The Forum stage.

Here are a few example of a roll drop collections to help understand how these pieces were stored above a stage without a fly loft.

Roll drop collection in Danville, Virginia.

Roll drop collection in St. Paul, Minnesota.

Roll drop collection in Milwaukee, Wisconsin.

End view of roller on a drop at The Forum.

There are a few miraculous moments that saved The Forum scenery. The first moment was when the scenery was lowered to the stage floor for a final time. It was carefully rolled, not ripped away from the top battens or bottom rolls. The second moment was when these scenes were moved to the attic for safe keeping.  It is amazing that the scenery was not either given to another venue or thrown away. Someone made the decision to keep the scenes and tuck them away in the attic. We may never know who the person was, or what their motivations were; however, I consider this unknown individual to be the first steward of the Forum scenery collection.

The third moment was when Michael Beavers discovered the dust-laden rolls and knew that they were historic theatre scenery. The fourth moment was when Loyd immediately understood that they were worth saving, signaling new stewardship.

Stage Scenery

I am going to start with the functionality of the drop curtain, and accompanying stage masking.

The drop curtain was designed to pair with not only painted top border, but also two side tormentor wings. Only The Forum drop curtain and grand border survive. Here is an example of a grand border and two tormentor wings.

Grand Border and Wings delivered to the Tabor Opera House in Leadville, Colorado, by the Kansas City Scenic Co. in 1902.

This top piece is also referred to some as a valance or teaser. Keep in mind that terminology varies from one region to another, and one decade to the next. When it was manufactured and installed by the Sosman & Landis studio, they termed the painted top piece as a “Grand Drapery Border.” Its listing in the firm’s 1894 catalogue included the following definition: “Made to represent rich and massive drapery and matches the drapery on the tormentor wings.”

The grand border delivered by Sosman & Landis in 1897.

Painted detail on grand border.

The measurement for the grand border and three sky borders were 30’-0” long.  The three sky borders were painted as a single 9’-0” x 30’-0” drop in the studio and then cut into the three pieces. The original size remains on the back of one sky border.

Charcoal notation with measurement for the piece of Fabric that was sent from the fabric room to the paint studio at Sosman & Landis. This was standard procedure throughout the firm’s history.

The catalogue described the accompanying side pieces:

“Tormentor Wings – Represent columns with elaborate base and rich drapery at top and side. These wings are stationary ones, set three or four feet back of and parallel with the drop curtain.”

Here is an example of a tormentor wing design, like what may have been paired with The Forum’s drop curtain and grand border. These three pieces (drop curtain, grand border, and tormentor wings) typically reflect the color scheme of an auditorium or hall, unifying all decorative elements.

Drapery detail on drop curtain. This color scheme was reflected in the extant grand border and would have been incorporated into the two missing tormentor wings.

Tormentor Wing Design. Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives., Accessed November 16, 2023. https://umedia.lib.umn.edu/item/p16022coll116:117

Tormentor wings were framed pieces that functioned as masking, to conceal the side stage. Working in conjunction with the grand drapery border, when the drop curtain was “out” (rolled up to reveal the stage), the three pieces framed all other painted compositions, such as the Forum’s landscape and street scenes.

A description of a standard drop curtain was included in the 1894 Sosman & Landis catalogue:

“Drop Curtain – Representing some romantic or historic view, with rich and elaborate drapery and gold frame.” The selection of “some romantic or historic view” often included popular artworks of the day.

It was quite common to replicate a painting or sketch, with the scenic artist taking a few liberties. Henry C. Tryon used William Linton’s painting, “A City of Ancient Greece – Return of the Glorious Armament” for the subject of the Salt Lake Theatre drop curtain in 1882. Tryon titled his drop curtain, “Return of the Victorious Fleet,” for the Salt Lake Theatre in 1882.

Illustration of William Linton’s painting (left) and photograph of Henry C. Tryon’s drop curtain for the Salt Lake Theatre (right). Both are from the Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives.

William Linton’s painting, “A City of Ancient Greece – Return of the Glorious Armament.”

Similarly, an artist at the Twin City Scenic Company in Minneapolis, Minnesota, designed a drop curtain with the central view replicating Thomas Moran’s “Sunrise on Ruins at Cuernavaca, Old Mexico.” Paint droplets still coat the copy once used by the scenic artist. Prints were readily available of his work and even included in the 1912 publication Three Wonderlands of the American West by Thos. D. Murphy.

A print of Thomas Moran’s “Sunrise on Ruins at Cuernavaca, Old Mexico” (left) and Twin City Scenic Co. drop curtain design (right). Both are from the Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives.

Here is an example from the Twin City Scenic Company Collection of the scenic artist’s source, the design and final drop curtain for Milton, North Dakota.

Print and corresponding drop curtain design. Both are from the Twin City Scenic Co. Collection. University of Minnesota Libraries, Performing Arts Archives.

Realized backdrop by Twin City Scenic Company scenic artists for the Opera House in Milton, North Dakota. Photograph by Dr. Lawrence Hill.

Black and white photograph of Milton Opera House that shows more detail. Photograph by Dr. Lawrence Hill.

This brings us to the central subject on the Forum drop curtain – the Roman Forum.

The central composition of the drop curtain for the Forum. Painted by a Sosman & Landis scenic artist, currently unidentified.

The Subject

The composition is almost identical to the Stefano Donadoni (1844-1911) watercolor painting entitled “Foro Romano.”

It was his red signature (S. Donadoni) in the left corner that caught my eye; a signature with the same color and placement as the Sosman & Landis signature on the 1897 Forum Drop Curtain.  

Red signature by Stefano Donadoni.

Sosman & Landis signature on drop curtain and The Forum (left). Sosman & Landis signature on drop curtain for the opera house in Lisbon, North Dakota. This is the first Sosman & Landis signature that I have encountered in red.

This Donadoni watercolor painting has been repeatedly sold at auction over the past few decades. However, I found that in 2007, it sold as part of a pain.

Painting listed a Bonhams when sold as part of a pair in 2007. More recent auctions took place in Florida.

I located mention of an “S. Donadoni” painting titled, “The Forum, Rome,” as part of the Bath and West England Exhibition at St. Alban’s (Bathe Chronicle 4 June 1896, p. 6). I have yet to find an exact date for the painting. Nor do I have any indication of how many Donadoni paintings depicted the Roman Forum. However, Donadoni watercolor paintings are listed as part of exhibitions in English newspapers as early as 1893 (Western Morning News, Exeter, 25 Aug 1893, p.3).

Donadoni’s work was also known in the United States, kept in both private and public collections. For example. Donadoni’s “Castle of St. Angelo and St. Peter at Rome” was even listed for as part of an exhibition (the Wilbur Collection) at the Morgan Building in Buffalo, New York (The Buffalo Commercial 24 April 1900, p. 10 and The Buffalo Review 21 April 1900., p. 4).

As mentioned above, nineteenth-century scenic artists used illustrations, photographs and prints when replicating subjects for drop curtain composition. I have yet to find any concrete evidence of a scenic artist using an original fine art piece as a source during the scene painting. Part of this has to do with liability. Painting near an original artwork is also risky, for fear of platter damaging the work.

As with Donadoni’s watercolor painting, the Sosman & Landis drop curtain depicts the Roman Forum with several figures to for scale. The addition of figures in any composition helps the viewer understand the scope of a landscape or the height of a building. Such is the case with the Forum drop curtain.

Of the ten figures, four are located on Via Sacra (Sacred Street), the large main street of ancient Rome that led from the top of Capitoline Hill to the Colosseum, passing through religious sites and the Forum. Four are positioned in front of the Temple of Saturn (colonnade): one is looking back toward the Via Sacra; and three are gazing at the Basilica Julia ruins. It is extremely unlikely would be pointing to something outside of the picture. It is very telling that he is indication to the ruins of a public building that once housed meetings, shops, and hosted civil court cases.

What is truly remarkable about this active group is that they are not all white. This is the first time that I have ever encountered a grouping of black people on an extant drop curtain.  After closely examining the paint application, finish, placement, shadow work and the surrounding area, the inclusion of these three individuals appears to be original. I don’t believe that any of the figures were added after the painting was delivered.

These figures are so small that their race would not be discernable from more than ten feet away.

My hand next to the figures for scale.

Detail of figure.

Detail of figures on Via Sacra railing.

Detail of figures on beyond the Temple of Saturn .

Detail of figures on Via Sacra railing.

From another historical perspective, the Forum was the center of daily life in Rome for centuries. This was the setting for speeches, processionals, public trials, and gladiatorial events. It is now surrounded by the ruins of several government buildings. For many, this iconic space is the most celebrated meeting place in the world. In many ways, Forum Hall shared a similar function, with the drop curtain solidifying this connection. There is no mistaking that the subject matter for the curtain was based on past and present notions of “Forum” in 1897.

View of the Roman Forum from the Capitoline Museums in Rome. Here is a link to the photograph taken by Wolfgang Moroder: https://en.wikipedia.org/wiki/Roman_Forum#/media/File:Foro_Romano_Musei_Capitolini_Roma.jpg

The Forum Club

Forum Clubs were quite popular in 1897. Some were debate teams attached to colleges and universities. Others were literary organizations with guest lecturers. Other Forum Clubs were formed to discuss the state of inequality.

For example, on Saturday, Dec. 25, The Appeal in St. Paul, Minnesota published the following announcement:

“Prof. O. M. Woods in his report to the Forum Club, reviewed the ‘criminal status of the Negro race.’ He scored the convict system of the South, and cited facts and statistics showing the comparative length of terms served by white and Afro-American criminals for the same offense, and the alleged manner in which the entire administration of justice was so warped to the prejudice of the Afro-Americans that their condition in many states was rendered but little better than that of the slaves of ante-bellum days” (p. 2).

In 1897, there was also a Forum Club that met in Forum Hall. Purportedly it was a dancing organization, but I am suspect. On Sept. 12, 1897, The Chicago Chronicle announced “A new dancing organization, the Forum Club, has been organized on the south side, and will give its opening party at the Forum hall, Calumet avenue and Forty-third street, Wednesday, Sept. 29: (p. 40). Another announcement appeared later that month, providing a little more information about this new social organization. On Sept. 29, 1897, in the Inter Ocean announced:

“The Forum club, a new social organization of about 100 young men of the neighborhood, will give here a series of parties this season. Officers have yet to be chosen, and thirty more members will be elected.”

This Forum Club was an all-male organization with limited membership and elected officers, like any business or fraternal organization at this time. It is possible that the Forum Club was meeting for reasons other than dancing. However, advertising and meeting as a “dancing club” allows a large group of 100 young men to not only gather, but also publicly announce their gatherings without any repercussions.

When Forum Hall was built in 1897, there are several other aspects of American history to consider.  I’m going to start with the use of the word “Forum” in in the establishment of organizations dating from 1897.

The Forum Club of St. Louis

I am going to pause for a moment and look at the Forum Club of St. Louis, as it provides context withing the framework of American history in 1897-1898. At the time, the St. Louis Globe-Democrat described the organization’s membership as “leading business and professional men of the negro race” (13 Dec 1897, p. 10).

As noted in the 1897 Chicago Tribune newspaper article: “The Civic League will stand for good citizenship and be based somewhat on the Forum Club of St. Louis.”

The Forum Club of St. Louis was described in St. Louis Globe-Democrat on Jun 15, 1896, published an article entitled, “The Colored Contingent,” reporting “The Forum Club, a Republican organization, composed of over 1500 colored business and professional men of this city” (p. 9).  This was a gathering of African-American delegates for the National Republican Convention in St. Louis. Representatives from all over the country attended the event, including Hon. George W. Murray, described as “the only negro Congressman in the present House of Representatives.” On May 25, 1896, The St. Louis Post-Dispatch “The Forum Club, an organization of the leading colored citizens of the city, is making a special effort to properly entertain the colored delegates to the National Republican Convention” (p. 8).

There was a conservative backlash to this moment of progress across the country, including the African-American massacre and coup d’état in Wilmington, North Carolina. If you are unfamiliar with this Nov. 8-10, 1898 tragedy, event, visit the Cape Fear Museum page https://www.nhcgov.com/604/Wilmington-Massacre-1898 and examine the interactive map with details: https://nhcgov.maps.arcgis.com/apps/MapJournal/index.html?appid=5a4f5757e4904fb8bef6db842c1ff7c3

This stain on our democracy should never be forgotten.

The Forum Club of St. Louis responded to the tragedy. Newspapers across the country reported on their response. On Nov. 25, 1898, The Clinton Register of Clinton, Illinois, reported, “The Forum club of St. Louis has compiled as address to President McKinley asking him to recommend to congress such legislation as will do away with the massacre of negroes in the south” (p. 8). Here is the link to the “Address of the Forum Club, of St. Louis, Missouri, to Hon. William McKinley, President of the United States, November 1898” at the Harvard Libraries: https://curiosity.lib.harvard.edu/slavery-abolition-emancipation-and-freedom/catalog/74-990012311570203941

The Forum Club of St. Louis as a Model for The Civic League in Chicago, 1897

The founders of the Civic League in Chicago were from the city’s south side.

On Jan. 22, 1897, the Chicago Tribune published an article about the formation of an organization modeled after the Forum Club in St. Louis, Missouri (page 7). The article was entitled, “To Lift Up the African”, with subheadings “Chicago Colored Men will Organize the ‘Civic League.’ Body will make war on crime and degradation with the especial object of improving socially and politically the Black Race – Forum Club of St. Louis suggests the foundation lines – Dr. George C. Hall on a meeting for Sunday.”

The article continued:

“Representative colored men of Chicago are banding together for a war on crime and for the advancement, in all legitimate ways, of reputable representatives of the negro race. The organization, which will be formed next Sunday at No. 2718 State street will be known as ‘The Civic League.’ It’s president will be Dr. George C. Hall of No. 533 State street.

Interested with Dr. Hall in the new organization are T. W. Jones, W. W. Lytle, George Allen, Hannibal Carter, Dr. G. M. Crissup, Dr. A. M. Curtis, Dr. E. E. Barr, W. F. Taylor, and others. These men recently at No. 2718 State street and entered into a full and elaborate discussion of the negro problem.”

[I am going to pause here to mention that 2718 State Street was a building with retail space below and apartments above. In the early 1890s the retail spaces had included as saloon. The address was also listed as a 4^th Ward polling place, and continued to be listed as such in 1908]

The article continues:

“As a step in the direction of settling it, it was decided to form ‘The Civic League.’ Dr. George Allen, T. W. Jones, W. W. Lytle, and T. J. Bowers were appointed a Committee on Constitution and By-Laws, and will report next Sunday. Discussing the aims and purposes of the proposed league, Dr. Hall said last night: ‘To the fact that the American negro has entered upon the second quarter of a century of his emancipation without having obtained full measure of American citizenship decreed to him by the Constitution it is unnecessary to give more than passing attention. Self-evident truths need no argumentative demonstration. What we mean to do is simply this: To take a survey of the relative position and importance of the negro citizen as compared with other citizens of this community in which he lives; and when we find two classes of citizens, under the same auspices, with equal  civil advantages, the one rising to a degree of almost unexampled power and eminence and the other sinking into a state of comparative obscurity, it is our determination to trace out the causes which have led to the elevation of one class and the depression of the other, and to use our most earnest endeavors to utterly extirpate whatever opposes the program and prosperity of any class of citizens in this country.

‘This survey we have casually made. We do not complain that our liberties are few, but that in this land of boasted freedom, where ability and good citizenship are the standards by which all the competitions of life are governed, the negro’s tenure of almost every public right is somewhat mutilated by arbitrary discriminations against him. In fact, in every race in which he enters he is first declared an inferior competitor and then handicapped and hobbled by an unjust race prejudice.

‘It must be recognized that the better the negro citizen can be, the better it will be for all classes of citizens. The negro’s grievance is that the better public citizen’s he tries to be these discriminations that are made against him are the most unbearable from the fact that they act as impediments not to his lower nature but to the aspirations of his higher nature.

‘As long as the negro is content to be a ragamuffin and a bootblack, frequent the vilest and lowest places of amusement, hang about the streets, shun all public places designed for the intellectual and moral welfare of the citizens, shun schools and colleges, keep out of professions and trades, no white man on earth could be much more free than he finds himself. But the moment he attempts to rise above such a life as this he is galled and tormented with ignominious discrimination against him as a public citizen, both by custom and (in some States) by law; and finally his mother, wife, his sister, and his daughter are encouraged to lead ignoble and are discouraged to lead nobler lives.

‘Many white men have had the honesty and boldness to step forward and proclaim the truth, while others have willfully traduced the negro, who proposes to stay in this country and is eager to be a citizen without any special rights or restrictions.

‘The Civic League is going to help the negro if it can, but not by pulling down the white man. It will make a feature of suppressing crime, and will act in full harmony with any existing organization which has for its objects the betterment of the whole people. Only by these means can the standard be raised.

‘We shall not demand anything, while we may respectfully request a number of things. We would like representation where labor of all kinds is employed, but we will leave it optional with the employer who he hires, contenting ourselves with giving endorsement of the league to a man we may decide is worthy to represent our race.

‘The Civic League will stand for good citizenship, and be based somewhat on the Forum Club of St. Louis. It’s officers will be business-men who can live without politics. If we cannot stop crime, we can locate the blame and fight that.”

On Jan. 25, 1897, The Chicago Chronicle announced,

“Civic League of Illinois

Colored Citizens Organize.

The Civic League of the state of Illinois was formally brought into existence yesterday afternoon at a meeting of colored persons held at 2718 State street. Thirty-two men in business and professional occupations discussed the methods to be employed by the new organization under the presidency of George C. Hall and voted on a constitution and by-laws and elected officers. The object of the league is to get the moral support of the north to enable the league to educate its kindred in the south and to endeavor to get trades unions to raise the bar they have placed against the admission of colored men” (page 7).

The same day, an announcement was made in the Inter Ocean published an article entitled, “To Educate Colored People” (page 8). It reported:

“The Civic League of the State of Illinois was formally brought into existence yesterday afternoon at a meeting of colored people held at No. 2718 State Street [3^rd Ward]. Thirty-two men in business and professional occupations discussed the methods to be employed by the new organization under the presidency of George C. Hall, voted on a constitution and by-laws, and elected officers. The object of the league is to get the moral support of the North, to enable the league to educate its kindred in the South, and to endeavor to get trades unions to raise the bar they have placed against the admission of colored men. The league also expects to make the members of the race rejected by the white people in the communities in which they live. The following officers were elected: President Dr. George C. Hall; first vice-president, Hannibal C. Carter; secretary, Dr. G. M. Crissup; treasurer, T. W. Taylor. The board of directors will be selected at a future meeting, but it was determined to apply for a charter at once. The purposes of the league, as pronounced in its constitutions, are to foster and promote by every lawful use of the pen, the press, the mail, the law, the courts, by public assemblage and petitions, and by all proper stimulation of public sentiment, the legal and conventional recognition, establishment, and protection of all men in the common right of humanity, and of all citizens of the State of Illinois in the free enjoyment of every civic right, without distinction on account of birth, race, or private social status.

President Hall was very enthusiastic in his belief that the league would meet with success in its efforts. He said that it would not be allied in any manner in politics, except in the highest sense, and that the organization would aim to help the colored man in every possible manner. The roll members admitted yesterday contain the following names: J. E. Brown, George W. Lytle, Dr. SA. M. Curtis, S. J. Evanz, H. J. Bowers, H. S. Sanderson, R. W. Lacey, James H. Tillman, George D. Allen, E. J. Alexander, A. S. Cooper, H. M. Gibson, R. B. Cabell, and W. F. Tyler.”

Dr. George C. Hall, The Civic League’s first president

Dr. George C. Hall lived in Chicago’s 4^th Ward

I am going to take a moment and examine Civic League’s first president, Dr. George C. Hall. He, and vice-president Hannibal C. Carter, both lived in Chicago’s 4^th Ward; Hall at 3616 Dearborn and Carter at 3236 Dearborn. Although the ward’s boundaries continued to shift since formation in 1837, in 1887 the 4^th Ward was bounded by Lake Michigan, 33^rd and 39^th streets and Stewart Avenue. Here is a map of the 4^th Ward in 1900 when both Hall and Carter were counted in the census. Keep in mind that The Forum was immediately below the 4^th Ward, in the top section of the 32^nd Ward.

Image of Chicago’s 3rd and 4th ward in 1900. Image from Chicagology.com

In 1901 the ward was extended west to the Chicago River, where it would remain until 1923 when the City was divided into 50 modern wards.

Dr. George Cleveland Hall was born on Feb. 22, 1864, in Ypsilanti, Michigan, the son of John Ward Hall and Romelia Buck Hall. His father was a Baptist minister and the family moved to Chicago where Hall attended public schools. He matriculated at the Pennsylvania’s Lincoln University, graduating in 1886. He returned to Chicago where he received medical training at Bennett Medical College, graduating in 1888. In 1896 he graduated from Chicago’s Harvey Medical college, assisting in gynecology the nation’s first black-owned and managed hospital, Provident Hospital. The following year, he became president of the Chicago Civic League. His accomplishments are remarkable, and Hall is remembered for his many civic activities, including the founding of the association for the ASALH at the Wabash YMCA in Bronzeville with educators Carter G. Woodson, William B. Hartgrove. A. L. Jackson, and James E. Stamps. This later became the largest organization of black professional and public historians. From a medical standpoint, Hall remained active with Provident Hospital as a surgeon, trustee, chief-of-staff, and organizer of the first postgraduate courses. Hall also founded the Cook County Physician’s Association of Chicago, an organization of black doctors. This list of his accomplishments goes on and on.

Hannibal C. Carter, The Civic League’s first vice-president

H. C. Carter. His portrait was attached to his obituary in many newspapers, included “The Appeal” of St. Paul, Minnesota, on 11 June 1904, p. 4.

Here is a little information about this remarkable man. There are several biographies floating about with conflicting information. Here is what I have gathered from historic records and newspaper accounts. Keep in mind there were a few men living with the same name at the same time.

Capt. Hannibal Caesar Carter was born in February 1835 in New Albany, Indiana, the son of George Washington Carter and Ann Hill Carter. Although his family briefly moved to Canada, between 1837 and 1839, where two children were born, they returned to New Albany by 1840 where they were counted in the census. They were again listed in the 1850 census report for New Albany, Floyd County, Indiana. Interesting, in this census the occupation for Carter’s father was listed as “digging gold Cal.” In 1862, military records list Carter as a Captain in the 74^th Regiment US Colored Infantry (Companies C and H). More information about his military history was detailed in The Appeal on July 25, 1891, “With his father he was on the Mississippi Steamer Vicksburg when the war broke out. This steamer ran on the lower Mississippi and a few days after Nutler occupied New Orleans, Carter, and his brother Edward made their way to him in safety. Shortly after they arrived, they petitioned General Butler to allow them to raise a regiment of Colored troops. This request was granted, and in October 1862, was mustered into the service….He was captain in the Second regiment Louisiana Native Guards, Corps d’Afrique. He assisted in the reconstruction of Tennessee, in 1867, and was elected from the Eighth congressional district in 1868. In 1868 he went to Mississippi and assisted in the reconstruction there. He represented Warren County, Miss., in the state legislature three times and was twice appointed secretary of the state. He was a candidate for congress in the famous district against General J. R, Chalmers …He removed from Vicksburg ten years ago and assigns as a reason that it ceased to be a healthy locality for a free man” (p.3). When Carter moved to Chicago, he was initially listed in directories as a clerk and notary. His 1906 obituary remembered, “He has resided in Chicago for over twenty years, and has taken a great interest in politics, and was quite an orator and political worker” (The Appeal, 11 June 1906, p. 4).

Here is a link for more information about the Corps d’Afrique: https://www.blackpast.org/african-american-history/1st-louisiana-native-guard-usa-corps-d-afrique-1862-1863/

It is sometimes difficult to track down individuals who served with multiple regiments or those that were consolidated. For the record, in April 1864, the three Native Guard regiments (1^st, 2^nd, and 3^rd Corps d’Afrique) were dissolved, and its members were placed in the newly organized 73^rd and 74^th Regiments of the United States Colored Troops. By the end of the war, there were 175 USCT regiments, constituting about -one-tenth of the army’s manpower.

I am going to briefly pause here and make a connection. Sosman & Landis were founded by Joseph Sosman (1846-1915) and Perry Landis (1848-1904), both Civil War veterans who fought with the Union Army.  Sosman’s older brother, Capt. William Sosman fought in the war for several years; his final commission being second lieutenant in the 106^th regiment, U. S. Colored troops. Capt. Sosman’s son, worked as a scenic artist at Sosman & Landis during the 1890s. At one time most Sosman & Landis employees had fought in the Civil War. I have yet to locate any of their staff who were members of the Confederacy.

Here is the link to “Joe Sosman – From Solider to Sign Painter” https://drypigment.net/2022/12/18/sosman-landis-shaping-the-landscape-of-american-theatre-joe-sosman-from-soldier-to-sign-painter-1864-1874/

Here is the link to “Perry Landis – From Soldier to Salesman” https://drypigment.net/2023/06/13/sosman-landis-shaping-the-landscape-of-american-theatre-perry-landis-from-soldier-to-salesman/

Joseph S. Sosman (top left) and Perry Landis (lower right) pictured in their 1889 catalogue.

Albert Emmet Kent

On April 7, 1897, The Chicago Chronicle announced “S. A. treat has designed a two-story store and hall building which A. E. Kent proposes to erect at Forty-third Street and Calumet avenue. It will be 130×83 feet. The hall will have a seating capacity of 700 and the building will be furnished in the modern style at a total cost of about $20,000” (page 21).  A. E. Kent was Albert Emmet Kent (1830-1901), a well-known businessman who many considered to be the founder of the Chicago’s great meat packing industry. As remembered in his 1901 obituary, “Thirty years ago Mr. Kent was one of the leaders in the commercial life of this city. He was one of the organizers of the Corn Exchange and old Third National banks, and of the board of trade. He was also the originator of the optional system of trading, without which boards of trade would be impossible. But his greatest achievement lay in the founding of the great packing industries which have made Chicago famous the world over” (The Inter Ocean 9 Jan 1901, p. 3). His story is quite something.

For health reasons, Kent moved with his family to San Raphael, California, in 1871. By the way, he moved prior to the fire. Although he remained in the West Coast, his name continued to be listed in dozens of Chicago real estate transaction and building projects. His only surviving child, William Kent, had long charge of his father’s great real estate interests. In 1890, William became a partner in the real estate firm, A. E. Kent & Son, Co. Although A. E. Kent was listed as the owner of the Forum Building, it is highly unlikely that he participated in the planning or décor.  This was simply a profitable investment for his real estate firm, intended to be rented to local residents. The demand for popular entertainment and meeting facilities often surpassed the supply theaters. The Kents likely considered another factor when constructing the theatre – transportation. The South Side “L” began making stops at 43^rd, 47^th and 51^st streets in the Grand Boulevard community. The 43^rd street stop for the “L” line was right at the Forum Theatre building.  There is a fantastic page at the Encyclopedia of Chicago Website that examines the shifting demographic of residents and how Grand Boulevard became the “hub” of “Bronzeville.” Here is the link: http://www.encyclopedia.chicagohistory.org/pages/537.html

Samuel Treat

Now I am going to explore the career of The Forum’s architect, Samuel Atwater Treat (1839-1910), and his connection with Sosman & Landis.

On April 3, 1897, the Forum Building was described in an article for The Economist: A Weekly Financial, Commercial, and Real-estate Newspaper (p. 374):

“Samuel A. Treat, Fisher Building, has prepared plans for the improvement of the northwest corner of Calumet avenue and Forty-third street. The property is owned by A. E. Kent, and the plans show the entire frontage of 130 feet on Forty-third street and 83 feet on Calumet avenue are to be covered with a two-story building to be devoted to stores on the main floor. On the property immediately on the corner above the stores there will be erected a lecture and amusement hall, 61×64 feet. The auditorium will have a seating capacity on the main floor and gallery of about 700. It will be reached by two flights of stairs, the principal one being from the Forty-third street entrance, and the other from Calumet avenue. Dressing rooms for ladies and gentlemen will be provided and also a dining room and kitchen. The interior views show a tasteful and appropriate arrangement of the gallery, proscenium and inglenook. The building throughout will be heated by steam and the auditorium will be ventilated by mechanical devices. It will be lighted by incandescent lights. The cost of the building will be $20,000, and it is to be ready for occupancy September 1. The same architect is making extensive improvements in the building at 51 and 53 Plymouth Place for Mr. Kent.”

When Treat designed The Forum, he was 57 yrs. old.

Born on Dec. 29, 1839, in New Haven, Connecticut, he worked for the architectural firm of Sidney M. Stone after graduating from the Collegiate and Commercial Institute in 1856 (now known as the Russell Military Academy).

Link to the source: https://en.wikipedia.org/wiki/Russell_Military_Academy#/media/File:Russell_Military_Academy_1860.jpg

This means that as a young man, Treat in the same town as Sosman & Landis scenic artist, David Austin Strong, nine years his senior. (1830-1911) In the 1850s, Strong worked as a sign painter, scenic artist, and stage manager at Homan’s Theatre, located in the Exchange building.

In 1867, Treat relocated to Chicago initially working with the form Randall & Co.  After the 1871 Great Chicago fire, he partnered with Fritz Foltz to establish Treat & Foltz. The two worked together for almost two decades. Foltz was extremely connected with the musical scene in Chicago during their time together. From approximately 1890-1910, Treat conducted his own business in Chicago. Less than a year after Treat’s passing, Strong also died.

Strong had moved to Chicago in 1874, working at various Chicago theaters until joining the staff at Sosman & Landis in by 1886, where he remained until his passing in 1911. Strong was extremely well known in the throughout the country, as was his employer. On Feb 28, 1886, an article in the Inter Ocean included his portrait and a short biography: “Among the oldest and best-known scenic artists in Chicago is David A. Strong, whose name adorned Haverly’s bills in the latter’s palmy days, but who is now in the Sosman & Landis establishment. He was born so far back that he skillfully dodges the issue when questioned as to the exact time. His professional career was commenced in Howard’s Atheneum in Boston twenty-five years back, He was then engaged several years stocking the larger New England theaters with scenery. He painted in the National Theatre in Washington for four years during the war. Then went to the Chestnut at Philadelphia, under Len Grover’s management, He then worked in New York at the Olympic and later at Niblo’s. While at the latter place with Marsden he got up the original scenery for the ‘Black Crook.” He then painted the panorama, ‘The Mirror of Ireland,’ famous in the East some time ago, and traveled with it for four and a half years. When Grover and Call opened the old Adelphi in this city, Mr. Strong was induced to come West, and has remained here ever since, working in several of the first-class theaters” (page 9).

David A. Strong pictured in 1886.

Meanwhile, Treat partnered with Fritz Foltz, and the two worked together until 1897. There is much more that can be written about Treat, but I am going to stop here, and 1897 forms another link with the Sosman & Landis Studio.

On Dec. 11, 1897, Treat was listed as an architect for the Western Electric Co. in The Economist (p. 665). The Western Electric Co. Building was located directly across Clinton street from Sosman and Landis Scenic Studio. They had shared a long history with Western Electric erecting its plant in 1883 and Sosman & Landis building their studio three years later. In 1893, Western Electric worked close with the scenic studio on several Columbian Exposition projects, including a large display in the Electricity building.

Western Electric’s Egyptian Temple Pavilion in the Electricity Building, Columbian Exposition, 1893.

For more information about this exhibit, visit: https://chicagology.com/columbiaexpo/fair041/

The Sosman & Landis studio not only included an electrical department, but the firm’s founders were instrument in establishing and operating the American Reflector & Lighting Company. In fact, Perry’s older brother, Joseph Landis, was the general manager. There is no doubt in my mind that Treat had worked with Sosman & Landis before The Forum project.

Sosman & Landis Scenic Studio, 1897

1897 was a big year for Sosman & Landis. It was their 18^th year in Chicago, having first set up shop at 236-238 Clark Street. In 1886, they constructed a scenic studio that was advertised at the largest in the country.

The Sosman & Landis Studio on Clinton Street.

Interior of the Sosman & Landis studio on Clinton Street

Another view of the Sosman & Landis studio on Clinton Street, c. 1910.

By 1894 the firm had delivered scenery to approximately 4,000 theaters throughout North America.  By 1902, that number had increased to 6,000. In addition to stock scenery, the firm also painted spectacles for touring shows, grand circus spectacles, amusement park rides, world fair attractions, industrial shows, charity events, and more. I am in the process of writing the book “Sosman & Landis: Shaping the Landscape of American Theatre.”

There was so much work coming into Sosman & Landis during 1897 that they had two studio spaces in Chicago, and several regional branches. The main studio was located on Clinton Street, with a second studio at the Alhambra Theatre. Thomas G. Moses (1856-1934), the firm’s first employee in 1880, oversaw the second studio, often referred to as The Annex. After Sosman passed away in 1915, Moses was elected president of the firm.

1897 projects included stock scenery for the Alhambra Theatre (Chicago, Illinois), the Overland Theatre (Nebraska City, NE), the Pike Theatre (Cincinnati, OH), the Valentine Theatre (Toledo, OH), the Grand Opera House (Columbus, OH), the Opera House (Deadwood, SD), the Opera House (Grand Rapids, Wisconsin), and the Cedar Rapids Highschool (Cedar Rapids, Iowa), to name a few. In addition to delivering painted illusion, draperies, stage machinery and lighting systems, they also painted settings for a variety of 1897 touring productions that included “Booming Town” (Phil W. Peters and James Brown), “Pulse of New York”, “Uncle Tom’s Cabin” (Davis Bros. Co.); “The Grand Duchess” and Amorita” (Kirkland Calhoun Opera Co.)

In addition to their theatrical supply and manufacturing firm, Sosman & Landis were also heavily invested in theatrical management. In 1897, Sosman & Landis were listed as managers of the Masonic Roof Garden Theatre (Chicago). They were also operating a second theatre agency with David H. Hunt, known as Sosman, Landis & Hunt. They leased the Pike Theatre in Cincinnati and ran a touring stock company, as part of the Western Circuit of Vaudeville Theatres.

Sosman & Landis’s electric scenic theaters at the Masonic Temple Roof Garden were even featured on the front page of “Western Electrician” on June 9, 1894.

Detail of Sosman & Landis’ Electric Scenic Theaters.

This brings us to the question: “Who was the scenic artist for The Forum’s drop curtain?” I am currently in the process of reconstructing the studio staff for each year, having already written biographies for 113 staff members. This is a project that I have been working on for decades. It just takes time.

Opening Forum Hall in 1897

The dedication of The Forum was announced in The Inter Ocean on Sept 29, 1897, reporting: “Opening of the Forum.

New South Side Social Center is Fittingly Dedicated.

The opening night of the Forum, corner of Forty-Third street and Calumet avenue, inaugurated last evening a pleasant addition to the South Side’s social centers. The new hall is large and well appointed, and the Forum club, a new social organization of about 100 young men of the neighborhood, will give here a series of parties this season. Officers have yet to be chosen, and thirty more members will be elected.

A mixed programme of music and recitations was the inaugural feature, and the attendance was quite large, especially of the people of St. Alban’s church, just around the corner on Prairie Avenue. Those contributing the entertainment were from this parish, and the rector, Rev. G. W. Knapp, lent his presence. There was an overture by the Wadner orchestra, a banjo solo by Master Scott Dowd, a song by Mr. G. St. John Knefler, a whistling solo by Miss Raney, a piano duet by Misses Edna Morgan and Maud Lightner, reading by Miss Carolyn Cook, solo by Master Tommy Anderson, and a song by Miss Eugenia Bayard, and at 10:30 came informal dancing. Among those who shared the enjoyable evening were:

Messrs. And Mesdames –

W.M. Speer, Thomas Edwards, J. D. Eaton, Morgan.

Misses – Grace Dodge. Rose Hess, Mable Hess, Bella Waller, Ethel Moody, Nannie Fetterly, Leofoldine Morgan, Edna Morgan, Laura Taylor, Jeanne Wilcox, Mary Webber.

Messrs. – Otto Langbien, John Morgan, Clarence Morgan, C. R. Cole, Ed Fetterly, G. P. Fetterly.

As with all theater openings, not everyone who attended a dedication was counted. Often, there is neither rhyme nor reason to who is included apart from entertainment and social standing.

As the building boasted a seating capacity of 700, I highly doubt that only a few dozen attended the opening. What I am certain of, however, is that this was an event primarily attended by locals.

I was able to track down most individuals listed above, with almost all coming from the 3^rd, 4^th, and 32^nd wards. In fact, most were listed in the 1900 census report. This means that I was able to look at the neighborhoods to see the examine the demographics. Many of the street included both white and black families. This really is a project for someone to sit down and map out; the households from one street to the next. I think of the 2009 publication entitled “Suburban Promised Land: The Emerging Black Community in Oak Park, Illinois, 1880-1980.” There needs to be a book that looks at the emerging black community near the Forum.

Activities at The Forum

The Forum was identified as a “lecture and amusement hall.” When the hall opened in 1897, a variety of groups used the space. Interestingly, newspaper announcements were published by those renting the space, not managing the space. This is a little odd, and I would live to track down who was opening the building and turning the lights on.

I have examined the following events between 1897 and 1901: wedding receptions, evening dance classes, orchestral programs, Calumet Assemblies events, Republicans of the Thirty-second Ward meetings, Thirty-second Ward Democratic Meetings, Political rallies, Violet Club receptions, Progressive Club gatherings, informal dances, lectures, Carter H. Harrison meetings for the Thirty-second Ward, St. Elizabeth Institute receptions, The Young Ladies Guild of Holy Angels Church card party and receptions, Colonial Club elections, De la Salle Alumni association reception and cotillons, the Gibson Informal, and Englewood Union Hospital Alumnæ association receptions. There are likely many more groups that used this space.

Interestingly, the William Kent (son of owner A. E. Kent) was listed as an attendee at a Forum event in 1898. Kent attended a meeting of the Thirty-second ward Republicans who gathered for the denunciation of Allen Law; Kent was listed as an ex-Alderman of the 4^th Ward. (Chicago Tribune 2 Jan 1898, p. 10). By the way, here is the link to the William Kent Family Papers in the Yale archives: https://archives.yale.edu/repositories/12/resources/4044 The scope and contents of the collection “document Kent’s career as a municipal reformer in Chicago and Northern California; his interests in conservation, recreation, and public control of water power; his campaigns for election to Congress; his service in the United States House of Representatives and on the United States Tariff Commission; and his business interests in cattle ranches in Nebraska and Nevada. The papers also include materials relating to the activities of Kent’s wife, Elizabeth Thacher Kent, her family, and the Kents’ seven children and grandchildren. Papers of Elizabeth Thacher Kent document her interests in women’s suffrage, the Equal Rights Amendment, and international peace.” This is a rabbit hole that I cannot go down at this time.

Fraternal Activities

I have only located one stage production that took place in 1897. On Nov. 20, 1897, The Inter Ocean described a three-act war drama as as part of Thanksgiving festivities (p. 374). The article reported,

“SONS OF VETEREANS.

Colonel Ellsworth camp, No. 87, will give a grand Thanksgiving entertainment Thursday evening at Forum hall, corner of Forty-third and Calumet avenue, consisting of a three-act war drama and exhibition drill by the Burns Military School cadets. The entertainment will be followed by a dance. The Sons of the Veterans of Austin will visit the camp and G. A. R. post at Oak Park next Thursday evening” (p. 11).

Colonel Ellsworth Camp, No. 87 represented the Sons of Union Veterans of the Civil War, Middletown, Pennsylvania. This was an allied order of the Grand Army of the Republic (GAR), intended to preserve the history and legacy of the veterans who fought during the Civil War. Here is a link for more information: https://en.wikipedia.org/wiki/Sons_of_Union_Veterans_of_the_Civil_War

There was another fraternal activity that caught my eye when I entered the building for the first time – The Elks. There still is a door clearly marked with the Fraternity and C. A. Brown.

Improved Benevolent and Protective Order of Elks of the World at The Forum. This door likely led to the secretary’s office, as in most fraternal buildings.

The Forum also was home to the Improved Benevolent and Protective Order of Elks of the World (I.B.P.O.E. of W.). This is not the same as the B.P.O.E.  As Prince Hall Freemasonry, it was a fraternal order fueled by racial inequality.

Founded in 1898, the group is now considered the largest Black fraternal organization in the world. In 1906, Chicago Lodge No. 43 was incorporated by W. D. Langford, T. J. Wilson, and R. L. LaCasse (Chicago Tribune 22 Nov 1906, p. 13). I believe that the Lodge is now known as Great Elks Lodge No. 43 and have contacted the fraternity to confirm.

After a little preliminary research, here is what I uncovered about the three gentlemen listed in the 1906 announcement:

W. D. Langford, was listed as a physician listed in the 1907 Chicago Directory, practicing at 500, 39 State Street.

Ralph L. Lacasse (1861-1909) worked as a porter and usher. I was also able to find his will that listed his Prince Hall Masonic association (Garden City Lodge. No. 59) and membership with the Knights of Pythias (Hannibal Lodge). Here is a link to Prince Hall Freemasonry Archives with Garden City folders at the Chicago Public Library: https://www.chipublib.org/fa-prince-hall-freemasonry-archives/

Thomas Jefferson Wilson, Jr. (1877- 1963) worked as a porter for the Pullman company in 1900. That year he roomed with his first wife Anna B. at the Payton family home, 4731 Armour Avenue in 1900. He later worked as a clothing salesman, marrying his second wife Yolanda Charleston.

I remain uncertain as to when the I.B.P.O.E. of W. started meeting in the Forum, but I have located a newspaper article from 1944 that confirms they were situated in the building (Chicago Tribune 26 Aug 1944, p. 8). For more information about this fraternal organization, visit https://www.ibpoew.org/history If you do a little digging, there is a fascinating history out there.

In Summary

There are many historic scenery collections across the country that are important. Extant backdrops that are linked with significant people and events in American history. They connect performance venues to local, regional, and national histories, often allowing us to discover the people who created it, delivered it, manipulated it, performed in front of it, and saved it.

That being said, The Forum drop curtain is one of a kind; there is nothing else like it in North America. It should be used as a forum for discussing the past, present, and future.

Please spread the word that the Forum exists, that it has historic scenery, and that it needs financial support.

Again, here is a link The Forum’s website: https://www.theforumbronzeville.com/

To be continued…

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Copyright © 2023 by Wendy Waszut-Barrett

This post is long overdue. August, September, and October were a flurry of activity this year.  Subsequently, I am a little behind on several projects and events that I promised to share.

Jenny Knott, Wendy Waszut-Barrett, and Monique Corbeil.

Last August, I taught another scene painting workshop for the 2023 CITT/ICTS (Canadian Institute of Theatre Technology/Institut canadien des technologies scénographiques) Rendez-vous.

Before the pandemic, this was an annual master class taught with Jenny Knott, then paint product manager with Rosco. Our classes explored both contemporary and historic scene painting methodologies. Past workshops included: Drapery Painting (St. John, New Brunswick, Canada, 2017), Foliage Painting (Hamilton, Ontario, Canada, 2018), and Gold! (Whitehorse, Yukon, Canada, 2019). This year we tried something new.  Instead of contemporary and historical techniques, we decided to try 3D and 2D techniques.

Jenny demonstrated paint application techniques for three-dimensional surfaces, with Pulp Art supplying samples. I demonstrated paint techniques for two-dimensional surfaces, with Historic Stage Services supplying the fabric. Rosco provided the scene paint for the workshop.   

My portion of the class included a brief PowerPoint presentation entitled, “Seeing Color: Understanding Strategic Color Combinations.”  Most of scenic art has to do with not only paint application techniques, but a strategic combination of color that supports any lighting design. This is basic color theory for scenic art that works for both 2D and 3D surfaces.

Here is an abbreviated version of my CITT presentation. It summarizes my own scenic art process based on extant backdrops. All examples included in my presentation were created with distemper paint (a mixture of pigment paste and diluted hide glue).

I often begin many presentations with showing a basic color wheel with primary (yellow, red, blue) and complimentary colors (orange, purple, green).

Revisiting basic color theory before any scenic art class works in the long run. It places all of the students on an equal playing field. When you understand the basic steps for creating complementary colors, it is much easier to understand variables in creating neutrals. 

The metamorphic nature of scenic art is reliant upon neutrals, specifically neutral colors that are integrated into the base-painting. It is incredibly important to understand variations when combining complementary colors.

I repeatedly stress that successful scenic art is reliant upon not only a minimal color palette, but also the contrast of hue and value. Our choices as painters in the mixing and application of colors can help or hurt the lighting designer.

When selecting colors for a base coat, warm, cool, light and dark come into play. As you work up the details, careful placement of wars and cool colors will enhance depth.

The key to painted illusion for the stage is understanding your options. In other words, warm versus cool. Yellow is a good example to use when talking about individual color characteristics. It is much easier for many to see the difference.

We then discussed both understanding and adjusting the value of colors with whiting and Van Dyke Brown. High contrast is very important when painting compositions that are intended to be seen from a distance.

I then shared some historic scenic art examples. Identifying colors and application helps many students understand process.

In short, I try to select examples that are fairly easy to interpret. Adding color swatches, instead of using a laser pointer, has helped many students “see” the color. Here is another example. Identifying color combinations in historic scenic art to understand process.

I also share a contemporary scenic art example. One that I have recently painted for a production. Here is a painted detail from The Sorcerer (Gilbert & Sullivan Very Light Opera Company, March 2023).

I try to include as many examples as possible, varying the stylistic approaches as they shifted over the decades.

I try to show how this color theory can be applied to other subject matter too, such as metalwork.

This is where I often discuss the selection and interplay for both hue and value.

Both manmade and organic subjects can use the same painting methodology. Foliage is another good example to explore the placement of warm and cool colors.

This greatly helps the painting reflect stage light, allowing the painted composition to transition from a morning to evening scene.

Painting Process Samples

After the presentation, we applied this color theory to brickwork. I made a “process” sample. There are many artists (me included), who have a hard time internalizing process until they see the paint application broken down into colors and steps.

Each of my brick samples used a limited color palette, with specific color identifies on the left. The process was then broken down (right to left), with base coat and charcoal layout on the right and completed brickwork with spatter on left.  

Brick sample for workshop.

While doing the samples, I documented the use of tools and techniques. Here are the brushes that I used for detail work – highlight and shadow.

Shadow and highlight brushes.

Second brick sample with limited color palette. The mixing of colors was done on the canvas to make an interesting base. This technique is similar to distemper painting. Pre-mixed scenic paints can be arranged similarly on a palette for floor painting (Continental Method).

For more information about upcoming CITT/ICTS events visit: https://www.citt.org/

The next CITT/ICTS Rendez-vous is in Saskatoon, Aug. 14-17, 2024. See you there!

To be continued…