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Tales from a Scenic Artist and Scholar. Part 1110 – Henry C. Tryon’s Little Brother, Spencer Tryon (1863-1912)

On January 30, 1883, “The Salt Lake Herald” reported, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tyron, the artist of the Salt Lake Theatre. He is very talented, and although scarcely more than a boy in years, he has produced some very fine work here and at the Tabor Grand Opera” (page 8). At the time, Spencer was twenty years old.

*The Salt Lake Theatre in Salt Lake City, Utah*

*The Tabor Grand Opera House in Denver, Colorado*

Like his older brother, Spencer changed his last name from Hoornbeck to Tryon when he began working as a scenic artist. To learn more about Henry B. Hoornbeck’s name change to Henry C. Tryon, visit: https://drypigment.net2020/10/16/tales-from-a-scenic-artist-and-scholar-part-1092-henry-b-hoornbeck-and-henry-c-tryon-1847-1892/ Their brother William Hoornbeck also adopted the last name of Tryon while living with Henry C. in 1878.

In 1870, Spencer was living with his mother, Ann M. Hoornbeck, and two brothers (Henry and Dell) at 384 Lake Street. This was the last year that Henry Hoornbeck (later Henry C. Tryon) was listed in directories under his birth name. Mrs. Hoornbeck and her children had moved to Chicago after the death of her husband in 1864. Like Henry, Spencer was educated in Chicago public schools.

The earliest mention of Spencer working as a scenic artist is in 1882. At the time, he was listed as his older brother’s assistant and painting scenery for a hall in Springville, Utah. On Dec. 13, 1882, the “Deseret News” reported, “Not only is the intention to have this model theatrical hall up to the times in point of architectural construction, by the scenery is to be of the very best description. With this object in view Mr. D. C. Johnson, who takes a leading part in the management has secured the services of Mr. H. C. Tryon and Mr. Alfred Lambourne. The latter accompanied by Mr. Spencer Tryon – Mr. H. C. Tryon’s assistant – left for Springville to-day, to begin the work, and Mr. Tryon will follow in a few days. The institution will have thirteen scenes complete, with sidewings, etc., and an appropriate drop curtain. The fact that Messrs. Tryon and Lambourne will do the painting is a guaranty [sic.] that the scenes will be of the most excellent description” (page 15). The venue was described as “a genuine opera house in a theatrical hall. The extent of the stage from the footlights to the back is twenty-five feet, besides dressing and other rooms in the rear. The height of the stage from the floor to the rigging apparatus is twenty-two feet.”

The three artists were also credited with painting railroad scene a month later. Of the setting, the “Salt Lake Herald” reported, “A. Railroad Scene in ‘Forbidden Fruit.’ A feature in the performance, on Monday night, which was not scene in the original production, will be the grand office scene, just painted by Mr. H. C. Tryon, Mr. W. C. Morris and Mr. Spencer Tryon, and now shown for the first time, represent the waiting room for the Pennsylvania Central Railroad. A number of gentlemen who saw the artists at work on the scene consider it one of the finest efforts the painters have yet made. It will be seen in act II, of “Forbidden Fruit” (Salt Lake Herald, 26 Jan. 1883, page 8). A later article stated, “The railroad scene painted by Mr. W. C. Morris, of Salt Lake City, and Mr. Spencer Tryon – and displayed last night for the first time in “Forbidden Fruit” – called forth a well-deserved round of applause. It was excellently painted, being full of character, and although (from the nature of the subject) without any pretense of color, was beauty owing to its truth and solidity.” The “Deseret News: reported, “The office of the P.C.R.R.. a new interior scene, painted by the Tryon Brothers and W. C. Morris, Esq., will be exhibited for the first time” (26 Jan 1883, page 3).

On January 27, 1883, the “Deseret News” reported that the new office scene for “Forbidden Fruit” was by Mr. W. C. Morris and Mr. Spencer Tryon” (page 3).

By the spring of 1883, the Tryon brothers were back working at the Salt Lake Theatre. Interestingly, Spencer was erroneously listed as his older brother’s manager on the project. On May 31, 1883, “The Salt Lake Herald” reported, “Henry C. Tryon and his manager, Spencer Tryon, are still industriously engaged. At present, Mr. Tryon is working on one or two special scenes for Lawrence Barratt [sic.], when he appears at the Theatre in ‘Francisca.’ The borders and wood scenes are all finished, and there is any amount of new scenes which have never yet been in use, and which, if occasion came, would show how well stocked the Theatre is even now, when the work is far from finished” (page 10). Spencer would soon be left alone in Salt lake City, without his older brother’s countenance.

On September 17, 1883 the “Deseret News” published a farewell letter to Henry C. Tryon: “Good Bye – Mr. Henry Tryon, the skillful scenic artist, leaves for the East to-morrow. Beside his remarkable talent he is the fortunate 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 lustre of their capacities. He has made numerous friends here whose best wishes he carries with him. Good bye” (page 3).

I have to wonder what was worse for Spencer; living in his famous brother’s shadow or painting at the same venue renowned for your brother’s artwork. Regardless, Spencer remained in Salt Lake City area for at least another year after his brother’s departure in 1883. For a while, he worked at the Salt Lake Theatre, but soon began working at the venue’s competitor – the Walker Opera House.

*The Walker Opera House in Salt Lake City*

In 1884 Spencer was working, and sleeping, at the Walker Opera House. The Walker Opera House was located on the south side of 200 South Street between Main and West Temple streets. Unfortunately, the venue caught fire one night as Spencer slept inside. On October 16, 1884, “The Salt Lake Herald” headlined “A Narrow Escape. The Opera House Barely Saved from Destruction” (page 8).

*Sanborn Fire Insurance Map from 1884 for the Walker Opera House*

The article continued:

“On Wednesday morning at about 4 o’clock, Nightwatchman Henry Heath in passing the Walker Opera House noticed that the glass windows of Evans & Spencer’s gun store wore a peculiar color. On looking closer he perceived the appearance was caused by the store being full of smoke, Hastily running down stairs to the saloon owned by Mr. A. G. Bechtol, he saw that its interior was also black with smoke, With all possible dispatch he hurried to the rear of the building and awoke Dave McElroy and Spencer Tryon, who were sleeping in the Opera House, rigging the hose from under the stage and in the parquette circle, and going to the rear door of the saloon himself, and upon bursting open the door he was almost stifled by the smoke, but throwing himself upon his face, with a hose in each hand, he turned a stream of water upon the ice chest and billiard table, from whence the flames were issuing. With the assistance of Messrs. McElroy and Tryon the fire was gotten under control before the fire brigade was summoned. The firemen made good time to the scene, but were not needed.” Interestingly, the 1884 Sanborn Fire Insurance Map provides a basic floor plan for the building. The two-store front were occupied by an ammunition shop and a confectionary. Records indicate that the scenery on stage was non-combustible; this means treatment with a product considered to be a flame retardant. Layout (https://utahtheaters.info/Theater/Facts/250/Walker-Opera-House).

*Spencer Tryon’s narrow escape from the Walker Opera House made headlines in 1884*

After Spencer’s near miss at the Walker Opera House, he seems to fade away from published history. Spencer remained out of the spotlight for the remainder of his life, unlike his older brother who continued to receive recognition at theatres across the country. I have yet to uncovered any mention of either Spencer Tryon or Spencer Hornbeck between 1885 and 1890. By 1891, however, he was back in Chicago and listed in the city directory, having resumed his birth name of “Spencer Hoornbeck.” Interestingly, 1891 is the same year that the Walker Opera House burned down.

The 1891, the Chicago City Directory listed, “Hoornbeck, Spencer, painter, h. 621 N. Stephenson (P).” Within the next year, both his mother and his brother Henry would pass. At the time of Ann M. Hoornbeck’s passing, she was 68 years old and living with a son in Pullman, Illinois. Her internment was at Sandusky, Ohio, next to her husband. Sandusky was also the birthplace of their children.

By 1900, Spencer was again working under the name Tryon. The 1900 US Federal Census listed Spencer Tryon as boarding at 128 Throop Street in Chicago, working as a paper hanger and painter. Ten years later, he was still working in the same capacity and living alone, lodging a boarding house on Wabash in Chicago. Spencer passed away in 1912 at the age of 49 yrs. old. His older brother Henry had been only 45 yrs. old when he died the decade before. At the time of Spencer’s death, he was listed as a painter, boarding at 19 E. 18^th Street in Chicago. The next day, Spencer was buried at Mt. Greenwood cemetery.

Just like his mother Ann and older brother Henry, Spencer exited this world without fanfare or any published remembrances. I have to wonder if he had any loved ones to mourn his passing.

To be continued…

Travels of A Scenic Artist and Scholar: The Cox Scenery Collection at the Tabor Opera House, Leadville, Colorado.

In America, many nineteenth-century opera houses repeatedly purchased stage scenery, updating and expanding their existing stock. Scenic artists and their stage work drew crowds, just like popular stage personalities. The names of scenic artists were prominently displayed in many advertisements. Articles described their work and the scenic art process in detail, placing their contribution to a production on par with the leading performers.

Last February, I led a group of volunteers to document all of the scenery on stage at the Tabor Opera House in Leadville, Colorado. It was the first phase of the project, with the second phase occurring in September. The second phase focused on a much older scenery collection stored in the attic, placed there after the stage was renovated by the Elks in 1902. There were several pieces painted by Tignal Frank Cox in both locations. The first piece that we discovered was a tree profile, constructed of roughhewn lumber and coarse cotton fabric. On the backside of the tree was a charcoal sketch; a cartoon depicting a scenic artist in coveralls. Above the scenic artist was the caption: “Frank Cox, Scenic Artist Jan. 30 ‘88.” Cox also painted his initials on the front of the tree. They appear to be carved into the trunk, alongside other initials.

*Set piece painted by T. Frank Cox for the Tabor Opera House in 1888.*

*Cartoon on the backside of a set piece painted by T. Frank Cox for the Tabor Opera House in 1888.*

*Initials painted by T. Frank Cox on a set piece for the Tabor Opera House in 1888.*

Keep in mind that it is extremely rare to find a piece of stock scene signed and dated by the artist. Some pieces carried a studio mark, but seldom an individual artist’s name. Occasionally, individual artists and studios marked the corner of the central composition on a drop curtain (painted front curtain). Until my trip to Leadville, I had not encountered a signed and dated piece of nineteenth-century stock scenery.

*Signature on the back of a cut shutter at Tabor Opera House in Leadville, Colorado, 1888.*

Beginning in 1881, the Tabor Opera House was managed by J. H. Cragg. Cragg secured the painting services of Cox near the end of 1887. Cox completed his work for Cragg at the end of January 1888, and then headed to DeRemer’s Opera House in Pueblo. Cox painted a forest scene for both DeRemer’s Opera House and the Tabor Opera House.

To date, I have identified three extant settings painted by Cox for the Tabor Opera House. This “Cox Scenery Collection” includes a forest scene, a street scene and a Rocky Pass. The forest setting consists of two full shutters, two cut shutters and a tree profile. Both the street scene and the Rocky Pass scene are composed of only two shutters.

*Two wood shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

*Two street scene shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

*Two rocky pass shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

Cox’s painting project for the Tabor was part of a much larger vision that involved the 1888 establishment of the Silver Circuit. In 1881, J. H. Cragg became manager of the Tabor Opera House in Leadville; the same year that H. A. W. Tabor built the Tabor Grand Opera House in Denver. By 1884, Peter McCourt (Baby Doe’s brother) became the manager at the Tabor Grand, and was responsible for booking both the Tabor Grand and Tabor Opera House productions. McCourt soon expanded his bookings to other venues, establishing a Colorado Circuit, also known as the Tabor Circuit. Stops in the circuit included opera houses throughout Colorado, Utah and southern Wyoming. By March 1888, McCourt announced the official formation of a “Silver Circuit,” targeting the wealth associated with mining areas. Keep in mind that McCourt announced the establishment of a Silver Circuit only two months after Cragg hired Cox to paint the new scenes. The “official inauguration” of the Silver circuit, however, did not occur until July 1889. In the end, it included thirteen stops: Denver, Leadville, Aspen, Salida, Colorado Springs, Pueblo and Trinidad in Colorado; Salt Lake City, Provo, Ogden and Park City in Utah; and Evanston and Rawlins in Wyoming.

On January 14, 1888, the “Leadville Evening Chronicle” reported, “Frank Cox, a New York artist, is engaged painting several new scenes at the opera house. Manager Cragg has engaged him for a short time, and his productions are something unusual in the scene painting line. Mr. Cox painted the scenes that were so much admired in acts III and IV of Ingomar” (page 4). Act III of “Ingomar” was set in a mountain camp, likely using Cox’s recently painted rocky pass shutters. Act IV was set on the edge of a forest that possibly used Cox’s new forest setting. Lillian Olcott was featured in the touring production of “Ingomar” during 1887 and the beginning of 1888. She and her company performed both “Ingomar” and “Theodora” in Leadville at the beginning of January. The Tabor Opera House was one of her last stops on tour before she passed away in March. Newspapers across the country reported that Olcott grew ill after surviving a blizzard and died in a hotel.

*Advertisement for Ingomar and Theodora at the Tabor Opera House.*

Then, as now, travel throughout the mountains in winter was unpredictable and often treacherous, but this did not prevent people from completing a theatrical tour or traveling to nearby venues. Cox completed his work at the Table Opera House by the end of January. On February 1, 1888, the “Leadville Evening Chronicle” announced, “A handsome new ‘set’ house and a new wood ‘flat’ has been added to the scenic properties of the Tabor, this city. Both were painted by Mr. Frank Cox, of New York, and are excellent examples of the scenic art” (page 4).

On a secondary note, the mention that Cox’s new scenery was used in “Ingomar” is also of interest, as Olcott’s shows purportedly toured with their own “special scenery.” Advertisements for both “Ingomar” and “Theodora” promised, “all the wealth of scenery and appointments that characterized their production in London and Paris” (The Courier, Lincoln, NE, 20 Dec 1887, page 6). However, after “Theodora” played at the Tabor Opera House in January, one Leadville critic commented, “The company’s ‘special scenery’ was mainly conspicuous by its absence, but some very good stage settings were arranged, none the less.”

After completing his work in Leadville, Cox secured work in Pueblo, Colorado. In Pueblo, he not only worked as a scenic artist for DeRemer’s Opera House, but also performed as a “Lightning Artist.” Prior to his performance and work for DeRemer’s Cox flooded local newspapers with announcements, advertisements and articles about his art.

On Feb. 12, 1888, the “Colorado Daily Chieftain” included an article entitled “The Tramp Painter.” It read:

“The following has been handed us for publication, which explains itself.

PUEBLO, COLO, February 8, 1888.

Mr. Frank Cox,

Desiring to witness an exhibition of your rapid landscape painting and character sketching in charcoal, accompanied by your famous talk, “The Tramp Painter,” or “The Sketch Artist En Tour,” we respectfully request you to favor Pueblo with an early date most convenient yourself.

Jos. Hitchins, T.G. McCarthy, O. E. Pettis, L. B. Strait, Rev. W. C. Madison, Geo. M. Haight, W. W. Strait, A. B. Patton, and many others.

___

Messrs. Haight, Hitchins and others,

GENTLEMEN – In reply to the above request, I will state that I will be pleased to respond, and will appoint Friday evening, February 17, as the date, and DeRemer opera house as the place of entertainment, at which time I will paint four landscapes in oil 4×6 feet, each in ten minutes besides numerous charcoal sketches of the same size in much less time.

Yours Truly,

Frank Cox.

In addition to this announcement, Cox daily advertised in the “Colorado Daily Chieftain.” From Feb. 14 to Feb. 17 the newspaper included mentions of his act. For example, on Feb. 15, 1888, the “Colorado Daily Chieftain” reported, “Mr. Frank Cox, the lighting landscape painter who will appear at DeRemer’s opera house on the evening of the 17th instant, will amuse and instruct all who attend, and we trust that he will be greeted by a large audience.”

The announcement was accompanied by a nearby advertisement:

Advertisements for Frank Cox were placed in the “Colorado Daily Chieftain” from Feb. 14-17, 1888.

Cox also posted short reminders in the “Colorado Daily Chieftain” – “Don’t miss seeing Frank Cox, the artist at DeRemer’s” (“Colorado Daily Chieftain”, Feb 17, 1888, page 4).

The day before his performance, Cox submitted another article entitled “A Fire at Sea.” It described, “The event of the season will be the appearance of Mr. Frank Cox, the lightning artist at DeRemer’s Friday evening, February 17. On this occasion Mr. Cox will paint his wonderful ‘Fire at Sea,’ in which he first paints a moonlight ocean, then a ship, then sets it on fire (with color), then brings another ship to the rescue, which also burns and the picture is left a calm, open sea, with no vessel in sight, and even the smoke is cleared away. You will probably never have an opportunity of witnessing such a grand spectacle and should not fail to attend. Tickets 25 and 50 cents.”

*Sketch by Frank Cox on the back of a cut shutter at the Tabor Opera House in Leadville, Colorado*

On the day of the performance, Cox was featured in the “Amusements” section. Under the heading “The Tramp Painter,” the article noted:

“To-night is the date of the most extraordinary and wonderful entertainment ever seen in Pueblo, on which occasion Mr. Frank Cox, the lighting artist, delivers his famous talk “The Tramp Painter” at DeRemer, illustrating it as he proceeds with numerus black and white sketches and four large oil paintings, all executed on the stage before your eyes. Fifty sketches will be made during the evening, and a more enjoyable affair has probably never been offered to the people of Pueblo. All lovers of the beautiful in art should attend and witness this performance. The price of admission is 15 and 50 cents, within the reach of all, and we hope to see the DeRemer crowded.”

*Sketch by Frank Cox on the back of a shutter at the Tabor Opera House in Leadville, Colorado*

In addition to performing, Cox also painted scenery for DeRemer’s Opera House. On February 19, the “Colorado Daily Chieftain” announced, “Frank Cox, the artist is at work on a new scene at the DeRemer opera house. It is what is known as a ‘cut wood’ scene, the first one yet made there. It shows large trees, with foliage overhead, while the canvas is cut away from around the trunks of the trees, making a very forest like appearance (page 4). This is exactly what Cox also painted for the Tabor Opera House in Leadville.

*Two wood cut shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

After Pueblo, Cox traveled to Trinidad, Colorado. On March 4, 1888, the “Colorado Daily Chieftain” announced, “Frank Cox, the artist, is lecturing at Trinidad” (page 4).

To be continued…

Travels of A Scenic Artist and Scholar: A Railroad Scene for the Tabor Opera House, ca. 1886

*Train profile discovered in the attic of the Tabor Opera House in Leadville, Colorado*

From Sept. 21-27, 2020, I led a group of volunteers to document the nineteenth-century scenery collection stored in the attic at the Tabor Opera House in Leadville, Colorado. The wings, shutters, borders and other set pieces primarily dated from 1879 to 1890; each painted before the stage was renovated in 1902. One of the more interesting scenic pieces uncovered was a train. All that remained of the profile piece was the front end, with only a headlamp, chimney, cowcatcher (pilot) and boiler front remaining. The rest of the train was missing; the fabric likely removed and repainted for another setting over a century ago.

*Detail of train profile discovered in the attic of the Tabor Opera House in Leadville, Colorado*

There were many nineteenth-century melodramas with exciting railroad scenes, complete with painted tracks and steaming locomotives. A variety of productions included that terrifying moment when a train raced full speed toward the hero or heroine. Whether the performer was tied to the tracks, or lying unconscious on the rails, the victim was always snatched away just prior to the train’s passing.

*One of the many shows that featured a train scene*

On Dec. 30, 1886, Leadville’s “Herald Democrat” noted the train scene in the recent production of “Under the Gaslight” at the opera house. The review reports, “The opera house was crowded last evening to witness this great scenic melodrama, which so entertainingly depicts may phases of high and low life in the great city of New York…The exciting railroad scene was given in grand style and evoked the heartiest approbation.” The touring show featured Lew Morrison and his Dramatic Company. However, “Under the Gaslight” was just one of the troupe’s offerings. The company also performed in “Not Guilty,” “Celebrated Case,” and “Faust.”

It is almost impossible to determine the exact production that first used the painted train before it was relegated as part of the stock. There are clues, however, that help estimate manufacture date. First and foremost, the construction of the piece was with odds and ends, not finely planed theatrical lumber. The profile piece also incorporated remnants of a wood shipping container for the cut edge. A portion of a company name, stenciled for shipping purposes, remains – Brunswick-Balke-Collender Co. This helps determine an approximate date when added to the roughhewn board. Brunswick-Balke-Collender Co. means that the piece was created after 1884, and not before.

*Backside of the train profile at the Tabor Opera House in Leadville, Colorado. Note the partial shipping stencil with Brunswick-Balke-Collender Co.*

The Brunswick-Balke-Collender Co. has quite an interesting history, once running a regional office in Denver, Colorado. Founded by John Moses Brunswick, the J. M. Brunswick Manufacturing Co opened on September 15, 1845, in Cincinnati, Ohio. Although initially specializing in the manufacture of carriages, the firm soon turned their focus to billiard tables. Brunswick billiard tables were an immediate success, and soon the company expanded nationwide, opening regional branches across the country that included Chicago, St. Louis and New Orleans. By 1866, the firm was renamed J. M. Brunswick & Brother, as Brunswick added family members to run their regional offices. Keep in mind that in the 1860s, there were three main billiard manufacturers in the United States: J. M. Brunswick & Bro; Julius Balke’s Great Western Billiard Manufactory, and Phelan & Collender. In regard to Phelan & Collander, the name changed to the H. W. Collender Company after Hugh Collender’s father-in-law (Michael Phelan) passed away.

*J. M. Brunswick and Bro. became J. M. Brunswick & Balke Co.*

By 1874, J. M. Brunswick & Brother merged with Julius Balke’s Great Western Billiard Manufactory, becoming J. M. Brunswick & Balke Co. The firm incorporated in 1879, and then merged with another competitor – H. W. Collender Company. In merging with Collender, Brunswick acquired Collender’s patented billiard cushions, but the company was not renamed for another five years. In 1884, the formation of Brunswick-Balke-Collender Company indicated a monopoly of American billiard manufacturers.

*Brunswick-Balke-Collender Co. opened regional branches across the country.*

*Brunswick-Balke-Collender Co. opened a regional branch in Denver, Colorado..*

As the years passed, the company manufactured many other products that included bar counters, saloon fixtures, bowling alley supplies, poker checks, cigar counters, beer coolers, refrigerators, chairs, tables, lamps, and other products. It remains unclear what was in the wooden shipping box that was used for the train profile at the Tabor Opera House. By the twentieth century the Brunswick-Balke-Collender Co. product line was further diversified, adding toilet seats, car tires, phonographs, WWII target drone aircraft, school furniture, golfing equipment and pinsetters. Such variety! The company again changed its name in 1960, becoming the Brunswick Corporation on August 10. For more information about the history of this fascinating company, visit: http://www.fundinguniverse.com/company-histories/brunswick-corporation-history/

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 1109 – Similarities between the Salt Lake Theatre and Tabor Grand Opera House, 1883

“*The Salt Lake Theatre in the Early Days” was included in George D. Pyper’s 1937 publication, “The Romance of an Old Playhouse.”*

Manager W. S. Morse discussed Henry C. Tryon’s work for the Tabor Grand Opera House and Salt Lake Theatre with a “Salt Lake Herald” reporter in 1883. He was asked about his thoughts on the new Salt Lake Theatre and stock scenery. Morse noted similarities of the two houses and celebrated Tryon’s artistry. Here is the article in its entirety:

“A FINE STRUCTURE

What Denver Manager Thinks of the Salt Lake Theatre.

A Compliment for the Theatre and a Puff for Tryon.

W. S. Morse, Esq., manager of the Tabor Grand Opera House, of Denver, has been in Salt Lake for a couple of days on a visit, the object of which was rest and entertainment. Being a theatrical man himself, he naturally takes an interest in the Temple of Thespis wherever found and of whatever character. Consequently, he visited, among other places, the Salt Lake Theatre, which is now undergoing repairs. A HERALD commissioner ran across him there, and naturally put some questions to the gentleman, which may prove of interest to the public. Here is the result of a series of profound inquiries and equally erudite responses.

Reporter – Mr. Morse, what do you think of the Salt Lake Theatre anyhow?

Mr. Morse – When completed according to the plans of management it will be one of the finest theatres in the country.

Rep.- In what respect?

Mr. M. – The auditorium is elegantly proportioned, the acoustic properties are wonderful, while the lines of light are so well arranged that in no portion of the house does the audience fail to get a good view of the stage. All that the audience requires is to be richly and tastefully decorated and then, with the elegant proscenium opening, this part of the theatre will be superb. Judging from appearances, there has been a marvelous change in the entire arrangement of the stage mechanism. The depth of the stage is greater than that of the Tabor Opera House, while the width is about the same. We have about ten feet more height to our rigging loft, but there is ample height here for all theatrical purposes. The whole arrangement seems to have been modelled after that of the Tabor Grand Opera House; and that structure, having been built in accordance with the latest knowledge and experience that could be secured, it necessarily follows that practically everything which could be done to make a perfect place, is found in the Tabor Opera House. The similarity between the two houses (though it may seem immodest for me to make the comparison) is decidedly to the credit of this theatre. There are very few theatres as thoroughly stocked with characteristic and elegant scenery as I see yours is. The artist, Mr. H. C. Tryon, was with us in Denver for about eight months and during that time painted a large portion of our stock scenery. The first scene he did for us was a “Mining Camp in Colorado,” which was greeted with spontaneous and hearty applause. The good opinion of our patrons, so early won, was continued during his entire engagement, so much so that we parted with him with reluctance.

The artwork which I noticed he has already done here, is calculated to give the Theatre a really metropolitan aspect. The changes which have already been made and are now making – as I understand it – at his suggestion, will greatly enhance this impression; and when these alterations are completed, I will venture the assertion that nowhere in the country will there be a better sticked theatre for scenery, nor one which will enjoy a greater number of the modern theatrical appliances and conveniences. I would have you understand that we think a great deal of Tryon in our selection, where he enjoys as a great reputation for oil painting as he does for scene painting. He enjoys a reputation all over the country and has been employed by the best managers and in the best theatres in the country. In every place, even where the art taste is old, cultivated and generally developed, the same appreciation of his work is manifested as it is here and in Denver, Tryon’s success is due to the fact that he has made of scene painting art in the highest sense; besides there is freshness of idea, richness of color, and originality of design. All these things have combined to give Tryon the reputation he enjoys. My admiration for Tryon may lead me to say some very flattering things of him, but I am sure all that I can say in his favor will be borne out by artist generally and by those who have had the acquaintance of years with him. It was really a fortunate – not to say wise – movement on the part of the management of the Theatre to secure the services of so talented an artist. I am equally confident that the nerve displayed by the management of the Salt Lake Theatre in undertaking such a heavy expenditure in restocking the Theatre, in remodeling the stage, and in making the auditorium more attractive, will not only be rewarded by liberal patronage consequent upon the satisfactory presentation of all pieces so far as stage mounting and settings are concerned, but it will be a source of pride and satisfaction alike to them and the public, to known that they have as handsome, as attractive and as well-appointed a theatre as the largest American cities can boast.

Mr. Morse seemed relieved after he had delivered the concluding peroration, and the reporter decided that to worry that gentleman further would be cruelty and beat a hasty retreat” (Salt Lake Herald, 31 May 1883, page 10).

The “Deseret News” published gave a little background about the venue and its renovation in an earlier article entitled “Stage Transformation” (21 Feb. 1883, page 2). The article reported:

“The Salt Lake Theatre, built twenty years ago, when much that entered into its construction had to be transported across the plains with ox teams, will be, in 1883, up to the very latest date. To sum up, we are soon to have one of the few really grand and perfect theatres in the United States.” The article explained, “The tearing away of old timbers and the introduction of various improvements has made a new rigging loft fifteen feet higher than the old one. In fact, there is a compete stage transformation in progress in the ‘old Drury.’ The result will be that the scenery hereafter will, with the increased height of ‘drops’ and the immense ‘borders’ which traverse over the scenes, give all the grandeur of the very finest theatres.” The “ Deseret News” commented, “Now there is no rolling of drops, as they are simply raised or lowered directly by an ingenious and straight-forward arrangement” (26 May 1883, page 2).

Each piece of Tryon’s stock scenery was gradually unveiled to the public, selected to accompany a specific production at the Salt Lake Theatre. By the end of May 1883, the “Deseret News” reported “The forest scene, painted by Henry C. Tryon, introduced last night and this afternoon in ‘The Serf,’ is a masterpiece. The foliage borders transform the stage into the appearance of a dense wood with actual timber, over hanging and spreading branches and leaves. It is the nearest approach to nature in the department of scene painting we have ever seen” (May 26, 1883, page 5).

Lawrence Barret’s secured Tryon’s services while performing at the Salt Lake Theatre in 1883. Barrett specifically asked Tryon to produce special scenery after encountering his work at the Tabor Grand Opera House. The “Salt Lake Herald” reported, “Learning that Mr. Tryon was engaged here, Mr. Barrett was not a little delighted with the information, for the reason that it implied a presentation of his pieces, so far as scenic effects were concerned, on a scale of grandeur equal to anything he could have hoped for in the best equipped theatres of the country. It is but proper to state in justice to the artist that the first satisfactory exhibitions of his labors will be made during the coming engagement of Mr. Barrett. The commingling of the higher dramatic art, as represented by Mr. Barrett, and the perfection of scenic art, such as will be witnessed next week, will prove a treat of rare and unequalled excellence, and will enable the management of the Theatre to show fully and completely to the public the possibilities of the stage, since the completion of the extensive alterations instituted some time ago, and carried out at a cost far beyond original anticipations” (7 June 1883, page 8).

On June 14, 1883, the “Salt Lake City Herald” announced “Five Applause” (page 8). The article reported, “That all the HERALD promised is already realized in the two performance so far given, is beyond question, and to show how deeply Mr. Tryon’s labor is appreciated here, it is but needful to state that his scenes were five times applauded last night, the rise of the curtain in each act being a clue for applause by the audience; but the artist states that it is to-night he will take a little pride in the special work he has done, and referred to last nights as only of indifferent excellence. We shall see what he calls good when that is but indifferent.”

Other scenes credited to Tryon were described in local newspapers and included an ancient street, fancy chamber, winter scene and “quiet landscape.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1102: Henry C. Tryon’s Drop Curtain for the Salt Lake Theatre, 1883

In 1883, Henry C. Tryon painted a drop curtain for the Salt Lake Theater. Many sources explain that Henry C. Tryon replicated a painting by William Linton (1791-1876), “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theatre’s drop curtain composition. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

*Henry C. Tryon’s drop curtain for the Salt Lake Theatre, pictured in George D. Pyper’s 1937 publication, “The Romance of an Old Playhouse.”*

*Source that Henry C. Tryon used for “The Return of the Victorious Fleet” drop curtain at the Salt Lake Theatre, 1883.*

On Sept. 2, 1883, the “Salt Lake City Herald” published a long description of Tryon’s drop curtain composition (page 4). Here is the article in its entirety:

“Henry C. Tryon, artist of the Salt Lake Theatre, has finished the drop curtain on which he has been engaged for some time past. To those who have been acquainted with the artist’s condition during his work on this picture, the result will be a profound surprise. He has had scarcely one day on it in which he had the strength necessary to the labor, to say nothing of the unfortunate condition of mind that naturally results from physical incapacity and sickness.

The picture is from a painting by W. Linton, called “A City of Ancient Greece, with the Return of a Victorious Fleet,” but the lines of the composition have been materially altered, and it must be admitted, with happy results. Instead of making the city of primary interest, Mr. Tryon has made the “Return of the Victorious Fleet” the subject of his story, using the city as a necessary detail to the perfection of the tale. The hour is just before sunset, the sky soft, warm, and tender – just such a sky as any lover of nature might have noticed here repeatedly about a week ago when our warm Indian summer evenings began; and one of who had watched the progress of the picture must have felt forcibly on many occasions during the past two weeks what a powerful effect our summer evenings have had on the artist’s mind and with what trust and feeling he has expressed the sentiment they awakened in him.

The scene opens in a broad harbor. Showing the grand architectural structures of the period and nationality in the rear, gradating into the distance with a few hazy mountains, as an accessory background, the outlines of which are made apparent by a remarkable atmosphere and soft clouds tinged and iris-hued by the rays of the fast sinking sun, the existence of which, while not visible, is none the less strongly felt. On the right, and very prominent, are marble supports and marble steps leading down to the water’s edge; opposite to the left there is a distinct intimation of the same architecture, only hidden by a profusion of foliage and the sails and banners and pennants of the incoming vessels. A viaduct beneath which a stream of water flows fringes the centre of the harbor in the rear, and here again the foliage golden tipped by the sun, grows in glorious profusion and saves the eye from that sense of weariness which architecture, bare and unrelieved, however magnificent, however fascinating for the time being, invariably produces upon a longer acquaintance.

With the genuine landscape artist’s feeling, which does not exist where it does not reach after trees and water generally, foliage freaks out from unexpected yet natural points, and while doing service by relieving the monotony of architecture, introduces a feeling which, even though unobserved, gives a sense of satisfaction which is experienced and enjoyed without passing through the judgment for approval. The story of the picture is told in its title – “The Return of the Victorious Fleet.” There need be no title for the picture explains itself. The vessels filled with warriors enter at the left, pass up the harbor, then turn to the right where they group together, where wives, children and friends rush out of the grand marble structures and are massed between the marble columns, and receive the dear ones who have come home safely and victoriously out of the contest with a powerful foe. Everything is glowing, warm and cheerful, the expression being free and happy, while the bright colors, the brilliant banners, streamers and pennants, the colors commingling and toned down by the intervening atmosphere, give to the principal chapter of the story a gala-day appearance, and inspire a sentiment of pleasure in the bosom of the spectator. There is enough omitted detail to give the imagination ample sway, hence it is that the story continues to the right outside the picture, leading to the belief that the scene which the eye beholds is continually indefinitely, and that the same happy and joyful sentiment prevails at other colossal structures which do not appear in the picture.

The story is made the richer by the happy idea of coloring which the artist has employed – that is, the line of light follows the interest of the story, which begins at the left, spreads bout two-thirds over the picture, and culminates at the extreme right hand. So the shadows are deepened at the left (the bright colors of the sails just entering the harbor relieving it of a dismal air) the light gradually dawning towards the middle of the picture where it breaks in a glorious flood just at that point where the interest of the story culminates, and then modulates and tones down to the right, leaving the impression that away in the distance the story is concluded, leaving also to the imagination just as much as is essential to the perfection of a charming sketch. One objection that might naturally be interposed to the detail of the story is the fact that on the front marble steps there are no figures such as can be seen in the rear, and which as a matter of fact ought really to be visible at the point referred to. But there are weighty reasons why these were omitted. In the first place, Mr. Tryon is essentially a landscape painter, and confesses his inability to paint respectable figures. This being true, he could add nothing to the effect. But even were he capable of painting figures, for the truth of the story they are better omitted in this picture. To paint them well, or even indifferently, would be to arrest the eye, and in the degree in which this result was produced, just in that degree would the interest of the story be interrupted, and the idea of the artist be disadvantageously affected. It is a principle in all art that too much detail ruins the finest paintings, as in all stories, those details only are to be tolerated which are essential to the solution of the plot, that moment it is an injury.

Therefore, for the reason that he was incompetent for good figure-painting, and because such a detail would arrest the eye at a point where the injurious, Mr. Tryon wisely deemed it best to leave out the figures, and made the architecture as simple as possible, relieving it only by the water at its edge, and the prows of the two vessels just turning one of the columns. So much for mechanical thought and labor. But who can explain in words the sentiment, the tone, the poetic idealism the artist intended and has expressed? It is in these mainly that his genius is manifest; and every eye that rests upon the glowing canvass will behold beauties peculiar to itself; in every mind it will awaken thoughts that may occur to none other, and the impression and sentiment that it may arouse will be individualized in each bosom. Imagine, a warm, rich, summer day, the haze of an Indian summer’s eve lingering lovingly and tenderly overall, toning down features that might be harsh and making indistinct and indefinite points that seem to fade away into atmosphere so delicate, so mild, so feeling, so tender!

Here and there a flood of warm light develops a particular feature in order that the contrast may heighten the effect, as for instance in the foliage under the viaduct, or as a single point in the architecture; as a cloud catches a single ray of the warm sun as to appears on the ripples on the waves. The beauty of the water in the harbor must strike every artist and art lover as a thing of surpassing loveliness, in that it is true to nature and nature is beauty. The reflection of the brilliant colors from the prows of the bright colored boats, mingling in the waves, produces a combination of brilliant colors, which is rendered beautiful from the very indistinguishable profusion of the hues and the brilliance of the effect, rendering the transparency of the water so realistic that the deception is perfect. But who can describe a painting in words, however beautiful, however poor? It may be pronounced good, bad, or indifferent, particularly points favored and others condemned; it may awaken thoughts that otherwise would remain dormant, and may call to view things of beauty which would otherwise have blossomed and blushed unseen, but to the artist alone is given to produce anything approaching an imitation of the evanescent beauty, the supreme grandeur of nature. The critic cane merely direct public attention, and that is all we dare attempt with regard to Mr. Tryon’s picture. The drop curtain just finished, establishes, or will establish a fact that has always been claimed by the HERALD, that a successful scene painter is every inch an artist. Only view “The Return of Victorious Fleet” by Mr. Tryon, and be convinced.”

The newspaper article stated that Tryon replicated a painting by William Linton (1791-1876) – “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theater. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

*William Linton’s 1825 painting was sold at auction in 2015*

In 1910, Tryon’s drop curtain was replaced with a new one, tucked away in storage for the next two decades. Of the event, “The Salt Lake City Herald-Republican” reported,

“After thirty years of almost continuous service, the drop curtain at the Salt Lake theatre is to be replaced by a new one which manager George D. Pyper expects to have in place in time for the engagement of Henry Miller, beginning September 29. The subject of the new curtain will be Salt Lake Valley in the days of the pioneers, and it will be copied from a painting by William M. Minor, scenic artist at the theatre.

It will be difficult to exceed the beauty of the old curtain, whose artistic coloring and good drawing have made it a favorite for years. “The Return of the Victorious Fleet” was painted by Henry C. Tryon, one of the best artists in his line who ever came to Salt Lake. Those who have studied the stately ships coming into harbor may have wondered at the absence of life in the picture. The original, which is in the possession of Mr. Pyper, contained a crowd of people on the steps of the buildings, but Mr. Tryon was not a figure painter, and rather than mar his painting by inferior work, left the out altogether.

Except for the short intervals, “The Return of the Victorious Fleet” has hung in the theatre nearly thirty years. Some years ago an attempt was made to replace it by a picture of the chariot race in “Ben Hur.” The artist made the horses of heroic size, and so near the edge of the curtain that they seemed to menace the spectators who sat close. One critic of the day said that a certain scene in a play created a strong effect until “Pyper’s horses came clattering down” that there were plans for a new drop curtain for the Salt Lake Theater” (Salt Lake City Herald-Republican, 18 Sept. 1910, page 26).

Tryon’s curtain remained in storage until 1930 when it was donated to Kingsbury Hall. Tryon and his drop curtain made headlines again on January 9, 1930, when the “Deseret News” announced, “S. L. Theatre Curtain to be Hung at ‘U’” (page 9). The article reported, “The beautiful old Salt Lake theatre curtain, which hung for more than 40 years and witnessed, if curtains have that power, some of the earliest graduating classes of the old University of Deseret, will now function entirely as a cohort of education. It was announced Thursday that George D. Pyper, former manager of the theatre, had presented the curtain to the University of Utah to be hung in Kingsbury hall on that building’s completion. The curtain carries a painting by Henry C. Tryon entitled, “The Return of the Victorious Fleet.” “It was the most popular curtain ever hung in Salt Lake,” says Mr. Pyper.

On January 10, 1930, the “Salt Lake Tribune” reported, “ University Auditorium Gets Historic Curtain. Announcement was made Thursday by George D. Pyper, manager of the old Salt Lake Theater, that the curtain which was used in the historic structure would be presented to the University of Utah for the use in the new auditorium of the state institution, Kingsbury hall. The Salt Lake theater was razed last year, and the curtain is among the few relics of the building. It is decorated with a painting by Henry C. Tryon entitled, “Return of the Victorious Fleet.” Kingsbury hall will be completed about March 1. The new curtain will be hung shortly thereafter, with some form of ceremony” (page 7).

George D. Pyper wrote about the history of the Salt Lake Theatre in the 1937 book, “The Romance of an Old Playhouse.” Pyper recalled the popularity of Tryon’s drop curtain at the venue, writing:

“Many other artists have contributed to the scenic investiture of the plays produced in the old theatre, among whom may be named J. Guido Methua, George Tirrell, De La Harpe, R. Kirkham, Henry C. tryon and later James Anderson. Of these, most interest is centered on Tryon who painted “The Return of the Victorious Fleet” o a drop curtain which hung for many years in the Theatre, and which Salt Lake theatregoers never grew tired of. It was quite marvelous that Tryon’s curtain should have been so well regarded, because, while the original picture contained what seemed to be thousands of figures, Tryon’s reproduction contained absolutely none. Years later, desiring a change, I was induced by one of the artist’s to allow him to paint the chariot race from Ben Hur” with figures heroic size. The curtain was hung but did not make a hit. Mr. LeGrande Young, a regular patron and an expert on horses, came to me and said seriously that I might fool him on a landscape or marine scene, but I could not fool him on a horse; that those Ben Hur horses were spavined and their shoulders out of joint and that unless I took down the curtain he would not patronize the theatre. Then one of the newspapers said that in a very quiet scene which required a slow curtain, “down clattered Ben Hur’s horses and spoiled the scene.” So the noisy horses were turned out to grass and up again went “The Return of the Victorious Fleet” to the great satisfaction of the theatrical patrons. Only when it actually became thread-bare and the stage lights could be seen through its worn fabric would the public permit me to junk it” (pages 143-144).

*The “Ben Hur” drop curtain that replaced Henry C. Tryon’s “Return of the Victorious Fleet” for a short period of time.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1108 – Henry C. Tryon and the Bowdoin Square Theatre, Boston, 1892

Henry C. Tryon was associated with the Bowdoin Square Theatre when he passed away in 1892. Planning for the Boston theatre began early in 1890.

*The Bowdoin Square Theatre in Boston, Massachusetts*

On May 18, 1890, the “Boston Globe” reported, “If the new Bowdoin Square Theatre becomes a reality it will be commodious, convenient, and will open with a big attraction.” It took quite some time for the theatre to open, with the first opening planned for January 1, 1892. This tentative date was delayed until February 15, 1892.

*The entrance to the Bowdoin Square Theatre from “The Boston Globe,” Feb. 14, 1892.*

On February 14, 1892, the “Boston Globe” published a detailed article about the new building. One section of the article described the new stage and scenery:

“The stage, one of the largest in the city, is fitted with every modern mechanism necessary for working the scenes. The prompter’s table and appliances for controlling gas and electric work are elaborate and convenient. The width of the stage is 71 feet: total height to gridiron or rigging loft, 67 feet in the clear…The provision against damage by fire are quite ample. Standpipes, hose and automatic sprinklers are placed at various points behind the scenes and a perforated pipe closes the curtain opening. The fly-men have a special fire-escape running from the gallery.

An asbestos curtain is in place to be used in case of fire. The drop curtain is a drapery design, essentially a decorative work, with a landscape accessory, a bit of mountain scenery from Switzerland. A second curtain shows an exterior scene more elaborate in treatment. These beautiful drops are the work of Mr. H. C. Tryon who also painted the front draperies. One border is a rich maroon with gold embroider, the other, or what is known as the working border, is a delicate blue on which is seen the harp and olive branches.

The house will be completely stocked with scenery. The two interiors to be used on Monday night were painted by Messrs. Arthur H. Davis and William F. Hamilton.”

[Less than a decade later. Will Hamilton would partner with Thomas G. Moses to form the New York scenic studio, Moses & Hamilton]

*The Bowdoin Square Theatre pictured in “The Boston Globe,” Feb. 14, 1892.*

The article included a list of the executive staff for the Bowdoin Square Theatre, with H. C. Tryon and A. H. Davis as scenic artists for the house.

The Bowdoin Square Theatre was a sizeable venue with 1,600 seats. “Julius Cahn’s Official Theatrical Guide” provided more technical specifications for the stage in 1896. The width of the proscenium measured 32’-0” wide by 34’-0” high. There was 40’-0” from the footlights to the back walls, with 2’-0” from the curtain line to the footlights. The backstage was commodious, measuring 70 between the side walls. It was 69’-0” from the stage to the rigging loft and 50’-0” between the girders. Two paint bridges were located in the upstage area. The depth under the stage was 12’-0” with ten traps. The theatre also had a scene room. By 1896, the scenic artists for the Bowdoin Theatre were Conrad Tristchler and Charles Walker.

To be continued…

Travels of A Scenic Artist and Scholar. Interior Settings for the Tabor Opera House by Henry E. Burcky, 1890

The Tabor Opera House in Leadville, Colorado, opened in 1879. Over the next two decades, wing and shutter scenery for the stage was repeatedly purchased, refurbished and repainted. The venue was later 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, and a new stock scenery collection purchased. 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. This scenery was tucked away in storage after the renovation where it waited for over a century.

I lead a group of local volunteers to document both the scenery on the stage floor and that stored in the attic. On the back of one cut wing, was written: “W. J. Moon stage carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890. This penciled note identifying the creators places the eight cut wigs within the timeframe of Tabor Opera House history.

*W. J. Moon listed as carpenter and Henry E. Burpey [sic] on the back of a cut wing at the Tabor Opera House*

William J. Moon was a local resident, associated with the opera house for decades. Henry E. Burky was an itinerant scenic artist who began his career in Chicago and was working in Denver by 1884. “Harry Miner’s Dramatic Directory” for the 1884-1885 season listed “Burckey, Tabor Opera, Denver” as the scenic artist for the Tabor Opera House in Leadville; he was working for both of Tabor’s theaters. Burcky was still associated with the Tabor Opera House five years later.

On August 24, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (age 5). The article reported, “Mr. Burkey, the efficient scenic artist from the Tabor Grand, Denver, is at present in Leadville, and at work on some new scenery for the Tabor in this city. There will be several new sets, particularly some much needed interior scenery. One set has been completed already and is very handsome” (page 5).

On September 3, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (page 5): “Mr. Berkey, the scenic artist from the Tabor Grand, Denver, is getting along very well with the new scenery he is painting at the local theater. He has already completed three interiors, which are a decided improvement to the scenic portion of the theater. Mr. Berkey is a first-class scenic artist and does some decidedly commendable work.”

*Baronial Hall interior side of double-painted shutter at the Tabor Opera House in Leadville, Colorado*

*New England interior side of double-painted shutter at the Tabor Opera House in Leadville, Colorado*

After completing the scenery project in Leadville, the “Herald Democrat” reported his departure for Denver on October 16, 1890, noting “Mr. H. E. Burcky left last evening for Denver.” In addition to the tropical-themed cut wings, I suspect one of Burcky’s double-painted interior settings remain. When he painted the three new settings noted in the newspaper, he likely repainted existing composition. When nineteenth-century scenery was repainted, it was simply scrubbed down with water and then repainted. In the case of the Burcky’s double-painted wings, the underlaying composition became a template. There was no need to scrub down and redraw and interior setting for each piece. Keep in mind that this would have been tricky, as the underlying colors would immediately lift. Scenery painted with dry pigment and diluted hide glue reactivates when it comes in contact with liquid.

*Four double-painted wings painted by Henry E. Burcky for the Tabor Opera House in 1890*

*Painted detail from double-painted wing painted by Henry E. Burcky for the Tabor Opera House in 1890*

*A detail showing the underpainting* *from a previous composition.*

Burcky’s interior set consists of wings that slide in grooves, as well as two shutters that formed a back wall. The back wall had an opening for double door in the center. What is interesting, however, is that only the shutters use flat sheaves (wheels). A pair of flat sheaves was secured to the bottom of each shutter for easy movement. Unfortunately, one of the shutters was so badly damaged that it was not lowered to the stage floor and thoroughly documented. This piece and its companion remain in the Tabor attic, until they can be repaired and safely lowered to the stage floor.

*One of two shutters that formed the opening for a double door.*

*The two shutters still wait in the attic of the Tabor Opera House for repair*

*A flat sheave on the bottom of the interior shutter*

The double-painted wings do not have flat sheaves on the bottom. They were shifted during scene changes without the benefit of wheels, indicating that the wings slid in wooden floor grooves. Sets of grooves were placed above and below the unit to stabilize each unit for the interior setting.Not all of the interior setting remains, as part was disassembled to create a massive barn setting during the late nineteenth-century. Painted remnants littered the attic, a testament to the original scope of Burcky’s project. I am in the process of slowly fitting these pieces back together.

Tales from a Scenic Artist and Scholar. Part 1107 – Henry C. Tryon and the Lawrence Opera House, 1887-1892

A new opera house was built at the Boston & Lowell Station in Lawrence, Massachusetts, in 1881. In 1887 and 1892 Henry C. Tryon painted scenery for the venue.

*The Opera House in Lawrence, Massachusetts.*

On May 27, 1881, a special dispatch from the “Boston Post” announced the opening of a new opera house in Lawrence, Massachusetts (page 2). The venue opened to the public with a performance of “Jane Eyre” by Maggie Mitchell and her company. The opera house was described in detail:

“The theatre is one of the largest and finest in New England outside Boston. It is located over the head house of the new passenger station at the terminus of the Lawrence branch of the Lowell Railroad, and ad the building was planned with reference to the theatre, as well as the station, there is nothing incongruous in the combination of the two. The front of the building on Essex Street, is one of the most ornamental in the city. Two broad staircases lead from the street entrances at either end of the street front to a roomy lobby, which extends around three sides of the auditorium. The latter is clearly oval in shape, 100×85 feet, and 60 feet in height with an oval dome, elegantly frescoed. There is one balcony, a handsome affair, and two private boxes on either side of the proscenium arch. All the woodwork is of polished ash, and the general tone of the decoration is high and cheerful. The seating capacity is something over 1,560, and such is the incline of the floors that every seat is a good one. The seats are folding chairs, which have unique contrivances for holding hats. The stage, which would be a credit to any metropolitan theatre, is 92×52 feet, with a curtain opening 38 feet wide. It is fitted with all the modern appliances and conveniences, and the dressing rooms are perfect little boudoirs. There is a fine stock of scenery, and the lighting is so arranged as to be easily controlled. Exits are numerous from both stage and auditorium and a panic would seem to be an impossibility. The architect, Mr. Chas. T. Emerson of Lawrence, may well be proud of his work. T. J. Cates was the mason, Gregg and Severance the carpenters, and Stillman and Nichol the plumbers and gas fitters, while the frescoing and tinting is the work of Mr. W. S. Brazier of Boston. The idea of constructing this opera house in connection with the station originated with the late Hon. Hocum Hosford, and it is deeply regrated that he did not live to see the finished work.”

Interestingly, there was no mention of the scenery or the scenic artist until 1887. This was uncommon for the period, as the scenery for the stage was highlighted at the opening, with special mention of the artist and his reputation.

*Fire map showing the location of the opera house in relation to the train station in Lawrence, Massachusetts*

*Railroad map showing the distance between Lawrence and Boston*

On August 27, 1887, the “New York Clipper” announced:

“Lawrence. – The Opera-house opens the Fall and Winter Season Aug 22.…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.”

Tryon returned to the venue two years later, again refurbishing some scenes and repainting other.

On July 23, 1892, the “New York Clipper” reported:

“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 [sic.] 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).

Four days after the article was published, 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).

Much information pertaining to the Lawrence Opera house has faded from history. The venue closed in 1928 and was sold less than a decade later. In 1937, the 105,000 sq. ft. parcel of land that formerly housed the old Lawrence Opera House and the old Boston and Lowell Railroad dept was sold for $250,000 to Louis M Eidam and Joseph Ganem and Bay Street Merchants National Bank (The Boston Globe, 20 October 1937, page 2).

*The Train Depot in Lawrence, Massachusetts*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1106 – The Passing of Henry C. Tryon and William M. Voegtlin in 1892

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/

*Memorial erected to C. Louis Malmsha by his wife and artist friends.*

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.

*A newspaper clipping in Thomas G. Moses’ scrapbook of his friend Henry C. Tryon*

To be continued.

Travels of a Scenic Artist and Scholar. Stark Mills and Drillings for Scenery at the Tabor Opera House

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 textile stamp on the back of a border curtain at the Tabor Opera House in Leadville, Colorado.*

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.

*Detail of the Stark Mills standard drillings* *used for a border curtain at the Tabor Opera House.*

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 products for sale in Hawaii, from the “The Pacific Commercial Adviser,” Honolulu, 26 Feb 1870, page 4*

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.

*Border curtain constructed with Stark Mills drillings in the attic of the Tabor Opera House, 2018.*

*Border curtain constructed with Stark Mills drillings for the Tabor Opera House.*

Painted detail. *Border curtain constructed with Stark Mills drillings for the Tabor Opera House.*

*Detail of border curtain showing color from an overpainted composition.*

To be continued…