Drypigment.net

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

“ACTORS AT HIS BIER

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

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

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

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

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

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

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

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

To be continued.

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

To be continued…

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

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

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

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

Copyright © 2020 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Two years ago, I was writing about events in the life and times of Thomas C. Moses in 1884. At the time, I was trying to track down information about Henry C. Tryon. Tryon had entered my storyline when he began working at the Sosman & Landis Studio during 1884, filling in for Lem Graham after Graham left to establish a scenic studio in Kansas City.

By 1885, Tryon, Moses and John H. Young went to West Virginia o a sketching trip. Moses described Tryon as “eccentric,” and recorded some pretty humorous episodes about the older artist. While searching for additional information about Tryon’s projects in Utah (this is before he returned to Chicago in 1884), I came across mention of Alfred Lambourne (1850-1926). Lambourne worked with Tryon at the Springvale Theatre Hall. In 1883 Tryon’s younger brother, Spencer, assisted the two while creating stock scenery for the venue.

As I searched for articles in historic newspapers and past publications, I located an interesting description of Tryon by Lambourne in “Reuben Kirkham: Pioneer Artist” by Donna L. Poulton, PhD. Here is a link to her book: https://www.amazon.com/Reuben-Kirkham-Donna…/dp/1599553805. Poulton’s book provided an excerpt from Lambourne’s memoirs that described Tryon.

Lambourne referred to his mentor as “that erratic genius, that Bohemian of Bohemians.” Of his training with Tryon, Lambourne wrote, “…I worked with Tryon about seven weeks. Not on the paint gallery of the Salt Lake theatre, but in one of our southern towns, where we had taken a contract, jointly, for furnishing a set of stock scenery. Those seven weeks were among the most exciting, and from the art standpoint, most profitable of my life. Tryon arrived in Salt Lake City, after a long and successful season of scene-painting in Chicago, and at the Tabor Grand, in Denver. Who, that knew the man, could ever forget that walk, that shock of unkempt red hair, that shrewd ingratiating smile and fun, the enthusiasm, or flash of anger in those steel gray Irish eyes. How distinctly I remember the low suppressed tones of his voice and the sparkle in the same eyes, as he once confronted me and uttered these words: “I have never yet met a man whose combativeness I could not overcome with my own.” However that may have been, we became fast friends and without surrender on either side.”First of all, I find it fascinating that Lambourne not only worked as a scenic artist, but also authored several fictional works. In fact, I have just ordered three of his short stories about scenic artists; original copies are difficult to track down. Lambourne was like many of his peers; nineteenth-century scenic artists enthusiastically wrote about their art, the times, loves lost, and popular stage personalities, providing brief glimpses of life behind the curtain line and the challenges faced by theatre artists.

Lambourne’s memories of Tryon’s combative nature adds a lot of additional color to Moses’s own recollections about Tryon. It is clear that Moses liked and respected Tryon; after all, they planned a sketching trip together in 1885. However, respecting and working with someone is often different than living and traveling with them. Moses provides a peak into Tryon’s personal habits. I previously posted the article that Moses wrote for the “Palette & Chisel Club” newsletter concerning his 1885 trip to West Virginia – see past posts parts 202 to 212 at www.drypigment.net. For now, I’ll start with Moses and Tryon’s departure from the Chicago train station in 1885. Moses wrote,“Henry Tryon and I started for West Virginia on a sketching trip. I had more bother and worry with Tryon than a hen with a brood of chickens; he was simply impossible. A very clever painter but he was not balanced – very temperamental. While he was more than ten years my senior I had to lead him to everything that we had to do for the trip. I went to the B. & O. R. R. Co. and endeavored to secure free transportation. I tried to show them the great benefit our trip would be to the advertising department, as Mr. Tryon expected to write an account for the Chicago Tribune. They had plenty of this advertising, but encouraged us by giving us half fare both ways. We were highly pleased to get this with the understanding that John Young was to follow at the same rate within the week. I had a struggle to get Tryon down to the depot at 5 P.M. – the train left at 5:10. While we were rushing for the sleeper, Tryon stopped – he must get into his trunk which I had checked early in the day. I informed him that we had no time – the baggage was being put on the train. He insisted, so I went with him at 5:05 to the baggage-car. He asked the baggage master to pull the trunk off the truck so he could open it. After much grumbling it was lowered to the platform. Tryon untied the rope, unlocked it and from the top tray took out a fifteen-cent package of Durham smoking tobacco; replacing the rope he informed the baggage-man he was through with it. The baggage-man had been watching him and when he saw what was taken out he made some remarks that would not look well in print. Tryon never lost his temper, so the remarks did not affect him. We had less than two minutes to get to our sleeper, the trunk was thrown on and away we went. I never mentioned the incident again and Tryon forgot it immediately.”

More entertaining tales about Tryon tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

On June 19, 2018, I first examined the historic scenery collection in the Tabor Opera House attic. It was rumored to be the original installation from 1879, and I wanted to find something that supported this speculation.  I was traveling with my family from Minneapolis, Minnesota, to Santa Fe, New Mexico. In Santa Fe, I was scheduled to participate in a book signing event for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” published by the Museum of New Mexico that spring. Here is a link to the book: https://www.amazon.com/Santa-Scottish-Rite-Temple-Architecture/dp/0890136335/ref=sr_1_1?dchild=1&keywords=waszut-barrett&qid=1604502787&sr=8-1_. The book signing was scheduled for June 24 at the Santa Fe Scottish Rite, so we only had a few days to linger on trip there.

While traveling across the country, I documented historic scenery at several venues, including the Tabor Opera House in Leadville, Colorado. We pulled into Leadville on June 18, having scheduled a quick stop at the Tabor Opera House, before heading to Twin Lakes and Independence Pass. The next day was my 49^th birthday, and I decided to treat myself to a morning in the attic at the Tabor Opera House. Although this greatly excited me, I did not ask my husband and son to join me, as their excitement for historic theatres was rapidly waning.  In the attic, I carefully shifted flats piled against a far wall, encountering a surprise as each layer was unveiled. My husband and son were scheduled to pick me up at noon, so I had only a few hours to get a sense of what was hidden below piles of dust and debris.

In addition to marveling at the painted compositions, I examined the back of many pieces for clues. Often, there is more information on the back than the front. I look at fabric weave, construction techniques, mill stamps, studio stencils and basic graffiti. A “Boott Mills” stamp appeared several times on the backs of both borders and wings. 

One particular piece caught my eye – a stage right wing. Additional information on the Boott Mill stamp included “Standard Sheetings. FF. 40 yds.”

The painted composition and construction indicate that the wing functioned as a grand tormentor in the 1880s. It was part of a pair; the stage left wing now missing.  The wing was constructed to roll, unlike other wings in the attic. Also, the corresponding shutters for the wings that did not roll, commercial flat sheaves dating from 1888. The rolling hardware on the wing was unique, using a sash pulley to roll the unit. Unlike flat sheaves, sash pulleys were readily available from local suppliers for standard building construction. Keep in mind that when the Tabor opera house was built, all of the materials where shipped in by stagecoach; the railway had yet to reach Leadville. On January 22, 1880, the Denver and Rio Grande was the first railroad to reach Leadville, with the Tabor Opera House officially opening in November 1879.

Furthermore, the quality of the fabric, the frame construction, and hardware of the extant wing, all indicate that this piece was part of the original collection, prior to the arrival of the railroad in Leadville. Regardless of the exact manufacture date, the wing pre-dates most other attic scenery that was painted and signed by T. Frank Cox in January 1888.

There is a second factor to consider about the orphaned wing. The painted composition dates from later than its original construction. The painting matches a complete interior setting that was also stored in the attic, with some flats showing signs of repainting. Repainted scenery was commonplace throughout the nineteenth-century. Wings, shutters and borders were “washed down,” effectively removing the water-based paint from an existing flat before being repainted with a new scene. Scenic Studios also advertised shipping painted scenes for existing frames. This saved the travel and expense of an artist working on site at a theater, as well as the expense of new frame construction. Repainting existing scenes avoided the exorbitant costs associated with purchasing an entirely new stock scenery collection.

As far as the history of Boott Mills…

Boott Mills was established in Lowell, Massachusetts, along the Merrimack River. Located twenty-five miles northwest of Boston, Boott Mills initially operated with hydropower, a waterwheel powering the line shaft that ran the length of the factory floor. Leather belts that operated each loom were attached to the line shaft. Steam engines soon replaced the original water turbines, and mill operations later transitioned to electricity.

The Lowell area boasted an extensive group of cotton mills, built alongside power canals constructed during the early nineteenth century. Boott Mills was situated near the Merrimack Canal, the first of many power canals in Lowell. By the mid-nineteenth century there were approximately 150 mills operating in Lowell, an astounding number that specialized in a variety of products.

Prior to the Industrial Revolution, most American mills were designed to produce a turnkey product, specializing in only one aspect of textile manufacturing. Raw Cotton had to be cleaned, spun, carded and wove into cloth. Once the cloth was completed, the material was shipped to other companies that manufactured specific products. Later, cotton bales arrived at a mill and were turned into cloth in the same location, going through the process of cleaning, spinning, carding, rolling and weaving on site. Technological advancements in the weaving industry resulted in the power loom. The power loom was responsible for the mass production of textiles.

In America, Paul Moody developed the first successful power loom by 1816, working for Francis Cabot Lowell at Waltham mills. Moody later ran the Merrimack Manufacturing Co. in Lowell. Kirk Boott (1790-1837), namesake of Boott Mills, was the first agent and treasurer for the Merrimack Manufacturing Company.  Boott later built his first mill, initially constructing four buildings in 1835. Over the decades, Boott Mills expanded into a massive complex, shifting from hydropower, to steam, and finally electricity for operations. Like other companies, Boott Mills constantly incorporated new technology to increase overall output.

Ira Draper improved Moody’s design, allowing a mill worker to operate two machines simultaneously. By the mid-nineteenth century, improvements continued and now one mill worker would operate a dozen of machines, greatly increasing the amount of product produced at a mill. As with most factories, profits increased substantially as worker wages stagnated. In short, mill workers assumed more responsibilities for the same wage, allowing overall production costs to decrease while profits dramatically increased.

As with other industries, the textile industry transitioned from an economic system of independent craftsmen to a factory system of mass-produced goods where the role of craftsman was often reduced to that of common laborer. This shift in the textile industry was accelerated during the post-Civil War era when much of the textile industry moved south. New mills were established in areas where labor was much cheaper and cotton more accessible. This meant that southern millworks collected greater profits, investing additional funds in newer technology. Many northern mills did not have the equivalent returns to equip their factories with comparable machinery. By the 1920s, northern mills, including those in Lowell, began to close as they were unable to compete with their southern counterparts.

Boott Mills ceased their operations in 1958, and by the 1960s unemployment in Lowell was among the highest in the country. Throughout the economic downturn, many of the Boott Mill buildings remained standing a decade after the factory closed. By the 1970s Boott Mill buildings became part of the Lowell National Historical Park. For more information about the Boott Mills Museum, visit: https://npplan.com/parks-by-state/massachusetts-national-parks/lowell-national-historical-park-park-at-a-glance/lowell-national-historical-park-museums-and-exhibits/lowell-national-historical-park-boott-cotton-mills-museum/

The Boott Mills Museum features a Weave Room and several informational exhibits. The Weave Room is a scaled-down reproduction of a mill factory floor, complete with working looms. The machinery on display are primarily Draper machines, dating from the early twentieth century. The Weave Room still manufactures cloth for dish towels that are sold in the gift shop. Here is a lovely video of the looms working: https://upload.wikimedia.org/wikipedia/commons/f/fa/From_line_shaft_to_power_looms.ogv

Other Boott Mill buildings were converted into shops, apartments, condos and offices.

I have already contacted the Boott Mills Museum to confirm the mill stamp usage dates on the Tabor Opera House wing, and am currently awaiting a response. This post at www.drypigment.net will be updated once I have any additional information.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

A small step unit was uncovered at the Tabor Opera House in Leadville, Colorado, while I was on site from September 21 to 27, 2020. It was clearly identified as part of the setting for Julius Cahn’s production of “David Harum.”  A shipping label from the Globe Express Company noted the intended delivery from Leadville to “David Harum Co. c/o Tabor Grand Opera House, Denver, Colo.”

Why or when the “David Harum” step unit was first placed in the attic of the Tabor Opera House remains a mystery. Was it simple a touring piece left behind, never forwarded to the next venue?  The piece likely dates from 1901-1905; my estimation based on newspaper advertisements, the shipping labels and actual construction of the piece. For over a century, this scenic orphan was hidden in a pile, disguised under a layer of dust, until this fall. 

It is hard not to consider the history of the step unit. When it first toured, how many thousands of people witnessed a favorite stage personality pause on this very piece?  How many stages provided the foundation for the step unit before it was abandoned in Leadville? Although many questions remain unanswered, “David Harum” was an extremely popular piece during the first half of the twentieth century. I knew nothing about this production until my visit to the Tabor Opera House this fall.

There is a famous line from the show that accompanied many 1905 advertisements for the production: “Do unto the other feller the way he’d do unto you. But do it first.” The line was delivered by Harum, a small-town banker from the 1890s. The simple character captivated western audiences, especially when the show toured the western states. Edward Noyes Wescott’s 1898 novel was dramatized for the stage by R & M. W Hitchcock in 1900. At the time theatre critics commented, “There were many misgivings as to the possibility of making a successful play from a story which was so thoroughly a character sketch” (Carbonate Chronicle, 24 June 1901).

The initial touring production starred William H. Crane. Crane continued in the role for a few years before being replaced by William H. Turner. “David Harum” first appeared in Leadville during 1900, then starring Crane. By 1901, Julius Cahn was linked with the touring production of “David Harum” and by 1904, Cahn’s “David Harum” featured William H. Turner at the Elk’s Opera House in Leadville.  That February, the “Herald Democrat” reported, “Mr. Julius Cahn will present W. H. Turner in the dramatization of Westcott’s widely read book, “David Harum,” at the Elk’s opera house next Thursday evening. The play is now nearly three years old, and since its production it has been a phenomenal success. For sixteen weeks it ran in New York, for six weeks in Chicago, for two months in Boston where it proved to be a record beaked in point of attendance, and for six weeks in Philadelphia” (February 7, 1904).

The show returned to Leadville again the following year. On March 12, 1905, an article in the “Herald Democrat” stated, “Mr. Cahn personally superintended the getting up of the production, and paid much attention to its cast…its success has been extraordinary” (March 12, 1905).

On March 24, 1905, and advertisement in Leadville’s “Herald Democrat” announced:

Elk’s Opera House. Wednesday, March 29. Julius Cahn Presents DAVID HARUM.

The Play That Won’t Wear Out. The Epic of the “Hoss” trade. Quaintly Delightful. An Excellent Company.

WM. H. TURNER as David Harum. Mr. Cahn utilizes the same production here as see at the Garrick Theatre, New York. DAVID HARUM SAYS:

“Do unto the other feller the way he’d do unto you.

But do it first.”

Prices: 50, 75 and $1.00. Advance sale

opens Sunday, March 26, as West’s Cigar Store.

Another “Herald Democrat” article reported, “Nearly all of the familiar sayings, quaint philosophy, and amusing incidents of the story are in the play. One of the best things in the book and one of the best things in the play is the horse trade, which takes place in the opening act” (Feb. 19, 1905).

The first act setting was later described in detail: “The opening scene of the play is an exterior. On one side is Aunt Polly’s house with its trellis-covered veranda and old-fashioned garden. On the other is David’s bank, and in the background is the big barn.  In this act Harum sells the bulky horse to Deacon Perkins – the horse that would “stand without hitchin’ ” (Herald Democrat, Leadville, 12 March 1905). David’s horses were kept in the barn.

The “Herald Democrat” noted, “The second act, which is laid in Harum’s bank shows the old chap as a businessman. The act contains the incident of the counterfeit five-dollar bills, the tussle with Bill Montaig, the village tough, and the securing of the mortgages on the Widow Cullom’s home” (Feb. 19, 1905). The setting included the counting room in the back office of the bank.

The third act was placed in Aunt Polly’s sitting room on Christmas. The action included the telling of Harum’s  visit to the circus with Billy P. Cullom and the engagement of Mary Blake and John Lenox. After Christmas dinner the act ended with the comical uncorking of a champagne bottle.

Of the 1905 production in Leadville, the “Herald Democrat” reported, “The company, which is under the direction of Julius Cahn, contains a number of clever character actors, and unless the indications are very much astray they will be greeted by a crowded house for Mr. Cahn will utilize the identical production seen at the Garrick theatre, New York City” (Feb. 19, 1905)

On March 29, 1905, the “Herald Democratic” reported, “The presentation of “David Harum” which is to be made at the Elk’s Opera House Wednesday, March 29, should prove highly diverting…The success of the play has reached an extraordinary pitch, and, judging from the things said of the work, there is no reason why results should be otherwise. The play is clean, it is wholesome, its atmosphere is redolent of the country and its humor is of the healthy kind…In dramatizing “David Harum”, every effort was made to return all of those things which made the book so entertaining. The play is remarkable in one way, and that is, that it has been said again and again by competent critics to be an improvement upon the book. As a rule many dramatizations have failed to thoroughly catch the spirit of the novels from which they were taken. This is not the case, however, with “David Harum,” and it is the most satisfying comedy of its class now before the public. Wm. H. Turner has the role of “Harum” and his work has been praised highly.”

 On March 28, 1905, the “Aspen Daily Times,” provided a little more information about the leading actor in the production, William Turner.  The article reported,  “On Tuesday evening Julius Cahn presents at the Wheeler Opera House “the play of book plays,” “David Harum.” Mr. William H. Turner will be seen as “David. Mr. Turner has been under Mr. Cahn’s management for the past twelve years, during which time he has appeared in many notable Metropolitan successes, scoring personal hits in many productions among which are remembered, Rufus in “Held by the Enemy,” Mr. Austine in “The Faint Card,” Mr. Watkins in “Sowing the Wind,” Black Michael in “The Prisoner of Zenda,” John Wotherby in “Because She Loved Him So,” and Dr. Pettypont in “The Girl from Maxims.”

The story of “David Harum” remained popular for the next fifty years, standing  the test of time and translating to film. The first film adaption occurred in 1915, but Will Rogers later starred in the 1934 version.

By 1936, “David Harum” became a radio serial that lasted until 1951. “David Harum” even became the name of an ice cream sundae, consisting of vanilla ice cream, crushed strawberry, and crushed pineapple, whipped cream and a cherry.

Who knew that such a small scenic piece could tell such a large story.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

The predecessor to cut drops were cut shutters. I had never encountered any until my trip to the Tabor Opera House last month. As an added bonus, the back of each piece was covered with cartoons by scenic artist and architect Tignal Frank Cox.

Leadville’s Tabor Opera House was built by H. A W. Tabor in 1879. Two years later, he opened the Tabor Grand Opera House in Denver, Colorado. The renowned Silver King fell on hard times and lost both of these priced possessions. In Leadville, his opera house changed hands a few times during the 1890s.

The Tabor Opera House was renamed the Elks Opera House when the Benevolent and Protective Order of Elks (B.P.O.E.) purchased the building in 1901. Immediately after the purchase, the building was renovated. Part of the stage renovation included adding a fly loft, so that new scenery could be raised out of sight. Previously, the Tabor Opera House used wings, shutters, roll drops and borders.

Similar renovations were occurring all across the United States as this time. For example, in 1903, the “Idaho Springs News” reported a similar project: “The opera house will have a new stage and new scenery with which to greet the public at the opening performance. The stage will be enlarged, to be 40 feet high by 40 feet wide by 26 feet deep, which will enable the management to present all scenery carried by the companies. By the increased height the scenery will not roll but slide up. This mean larger shows for the public. The work is now under way” (4 Sept 1903). Two decades earlier, in 1883, the same renovation occurred to the Salt Lake Theatre. Henry C. Tryon, scenic artist for the Tabor Grand Opera House, ventured south and led the stage and scenery renovation. For more information about Tryon and the Salt Lake Theatre’s renovation, see today’s post (https://drypigment.net2020/11/02/tales-from-a-scenic-artist-and-scholar-part-1101-henry-c-tryon-and-the-salt-lake-theatre-renovation-1883/)

In 1902, new scenery was purchased from the Kansas City Scenic Co. for the Elks Opera House in Leadville. Fred Megan, a future business partner of Thomas G. Moses, represented the Kansas City Scenic Co. and secured the contract for new scenery. Kansas City Scenic Co. then subcontracted some of the project to Sosman & Landis in Chicago. The scenery delivered to the Elks Opera House was a massive collection; a substantial investment for the Elks’ new theater. During February 2020 I documented the Kansas City Co. and Sosman & Landis Co. scenery purchased for the renovated stage. This was the first phase of my project. I was hired to complete a condition report, historical analysis, and replacement appraisal for each scenic piece, as well as writing a collections care and management program for the collection.

When the new scenery was installed at the Elks Opera House, all of the older scenery was tucked away in the attic where it would remain for the next century. Occasionally, a piece or two would make its way to the stage floor, but it was not an easy task. Larger pieces needed to be lowered through a small attic door, forty feet above the stage.

From September 21-27, 2020, I led a group of local volunteers for the second phase of the project, documenting the historic stage settings in the attic of the Tabor Opera House. Each piece was lowered to the stage floor and photographed. The most challenging pieces to lower were shutters, measuring 10’-0”w by 16’-0”h.

Several pieces were painted by the well-known theatre architect T. Frank Cox. Cox began his career as a scenic artist and spent over a year in Colorado. In January 1888, Cox painted several scenes for the Tabor Opera House, including these two cut shutters. What is wonderful about these pieces is that they carry his signature and several cartoons. In 1889, Cox traveled throughout Colorado and also marketed himself as a “lightning artist,” producing a series of rapid sketches on the stage.

Cox’s cut shutters were placed mid stage at the Tabor Opera House; down stage of two exterior shutters. Shutters rolled together, a perfect solution for theaters that did not have room to raise backdrops out of sight. Wings and shutters slid on and off the stage in grooves to form scenic illusion on nineteenth and twentieth century stages across the United States.

For more information about the historic scenery collection at the Tabor Opera House, visit www.drypigment.net and keyword search “Tabor Opera House.”