Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1105 – Henry C. Tryon and “Hattie” from Haverhill, Massachusetts, 1885

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…

Travels of a Scenic Artist and Scholar: My Visit to the Castle Theater in Český Krumlov, Czech Republic

Attached are some photographs from my trip to Český Krumlov in 2016. Enjoy. I also posted about 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/

*Backdrop hanging in the Castle Theatre Museum at Český Krumlov.*

*Painted detail. Backdrop hanging in the Castle Theatre Museum at Český Krumlov.*

*Seam detail. Backdrop hanging in the Castle Theatre Museum at Český Krumlov.*

*Edge detail. Backdrop hanging in the Castle Theatre Museum at Český Krumlov.*

Travels of a Scenic Artist and Scholar: My Visit to the Castle Theater in Český Krumlov, Czech Republic

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.

*Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Painted detail. Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Bottom batten. Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Seam detail. Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Backdrops hanging at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Backstage at the Castle Theatre of Český Krumlov, Czech Republic.*

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

Tales from a Scenic Artist and Scholar. Part 1104 – Henry C. Tryon, Thomas G. Moses and John H. Young in West Virginia, 1885

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.

*Henry C. Tryon pictured in the “Inter Ocean,” Feb. 28, 1886, page 9.*

*John H. Young pictured in the “Inter Ocean,” Feb. 28, 1886, page 9.*

*Thomas G. Moses pictured in the “Inter Ocean,” Feb. 28, 1886, page 9.*

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…

Tales from a Scenic Artist and Scholar. Part 1103 – “That Erratic Genius,” Henry C. Tryon

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 on 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…

Travels of a Scenic Artist and Scholar: Boott Mills Standard Sheeting for Stage Scenery at the Tabor Opera House in Leadville, Colorado.

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.

*Boott Mills Standard Sheetings stamp on the back of scenery at the Tabor Opera House in Leadville, Colorado, ca. 1879-1880.*

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

*Back of a grand tormentor, once stored in the Tabor Opera House in Leadville, Colorado.*

*The same grand tormentor lowered from the Tabor Opera House attic to the stage floor.*

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.

*One of two sash pulleys at the bottom of a grand tormentor (wing). Tabor Opera House, Leadville, Colorado.*

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.

*The grand tormentor and matching interior set pieces at the Tabor Opera House in Leadville, Colorado.*

*Four flats on the stage floor at the Tabor Opera House in Leadville, Colorado. These match the grand tormentor with the Boott Mills stamp.*

*Painted detail on grand tormentor (wing) at the Tabor Opera House in Leadville, Colorado.*

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…

Travels of a Scenic Artist and Scholar: The Tabor Opera House, Leadville, Colorado. Step Unit for Julius Cahn’s Production of “David Harum.”

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.”

*Step unit for Julius Cahn’s production of “David Huram,” ca. 1901-1905*

*Step unit and shipping tag for Julius Cahn’s production of “David Huram,” ca. 1901-1905*

*Shipping tag on step unit for Julius Cahn’s production of “David Huram,” ca. 1901-1905*

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).

*From the “Aspen Daily Times,” 28 March 1905.*

*William H. Crane as “David Huram” in the touring production by the same name in 1903.*

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.

*Advertisement for “David Harum,” from the “Herald Democrat,” 24 March 1905 when it toured the Elks Opera House (Tabor Opera House) in Leadville, Colorado.*

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.

Act three setting for “David Harum” when it toured the Elks Opera House (Leadville) and Wheeler Opera House (Aspen) in 1905. From the “Aspen Daily Times,” 26 March 1905

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.

*The first film version of “David Harum,” starring William H. Crane, 1915.*

The second film version of “David Harum,” starring Will Rogers, 1934.

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…

Travels of a Scenic Artist and Scholar: The Tabor Opera House, Leadville, Colorado. Cut Shutters Painted by T. Frank Cox, 1888.

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.

*Cut shutters at the Tabor Opera House in Leadville, Colorado.*

*Cut shutter on floor before it was raised up.*

*Painted detail. Cut shutter painted by Frank Cox for the Tabor Opera House, Leadville, Colorado.*

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.

*Cut shutter on stage after it was lowered from the attic.*

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.

*Signature by Frank Cox on the back of the cut shutter.*

*Cartoon by Frank Cox on the back of a cut shutter at the Tabor Opera House in Leadville, CO.*

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.

*Two exterior shutter also painted by Frank Cox. These were the backing for the cut shutters.*

*Front view. Flat sheaves were placed on the bottom of shutters to help them effortlessly slide in top grooves during scene changes.*

Back view. *Flat sheaves were placed on the bottom of shutters to help them effortlessly slide in top grooves during scene changes.*

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

Tales from a Scenic Artist and Scholar. Part 1101 – Henry C. Tryon and the Salt Lake Theatre Renovation, 1883

The Salt Lake Theatre renovated their stage in 1883, adding a fly loft. Henry C. Tryon left the Tabor Opera House in Denver and traveled south to Utah for this and other projects.

Salt Lake Theatre ticket from 1883. Utah Department of Heritage and Art, Theatre Programs Collection, 1866-1995.
https://collections.lib.utah.edu/details?id=549570

On Feb. 2, 1883, the “Deseret News” presented “important interior improvements” at the Salt Lake Theatre. (page 3). The article reported “Everything is being reconstructed in harmony with the latest and best metropolitan ideas. The immense stock of scenery is being duplicated on new materials. There will be painted 45 “pairs of flats,” 172 wings and set doors, 50 “borders” and “set Pieces ad infinitum. The mere matter of canvass alone will cost over $2,000 and the entire expense will be more than sufficient to build an ordinary theatre. A new “rigging loft” is now being built 15 feet higher than the [resent one, and as soon as it is finished the old one will be torn out and the entire height will be great enough to raise the new drop curtain bodily up without rolling. Everyone of the scenes put upon the stage will have a height of 15 feet greater, and apparently the difference will be still more.”

This was a monumental project and the article continued, “In order to arrange the mechanism and thus gain these advantages, much must be done, and in this case, owing to the necessity of rearranging all the girders, beams and supports of the roof, it requires some nice mechanical calculation, which the ordinary observer even would perceive were he to see the work in progress.” Local architect Henry Grow (1817-1891) was selected for the task, and assisted by William Ridd. He was a Latter-day Saint builder and civil engineer, responsible for the Salt Lake Tabernacle.

The managers of the theater were J. T. Caine, H. B. Clawson and David McKenzie. Of the renovation project, the article noted that Mr. Clawson was personally attending to the work. And, here is the interesting paragraphs to read… “Mr. Clawson is personally superintending all this work and, seeing clearly the result ahead, has entered into it with enthusiasm and vim. He is really the motive power in the affair, and it will be found to be only another example of the fact that he does not trouble himself about small matters, but carries important ones to their full and proper conclusion.”

Three month later the “Salt Lake Herald” announced that Tryon “was given carte blanch to follow his own sweet inclinations,” in regard to the scenery and stage machinery renovation on stage (12 May 1883, page 8). From January until May of 1883, Tryon transitioned from freelance scenic artist to the scenic artist on staff at the Salt Lake Theatre. While painting for the nearby Springvale Music Hall, the San Francisco Opera offered Tryon a scenic art position. Tryon shared this offer with the local newspapers, as well as the Salt Lake Theatre. Although Tryon had worked on new scenery for the Salt Lake Theatre since fall 1882, he had no official position at the venue: this changed in early 1883.

On May 12, 1883, the “Salt Lake Herald” reported:

“STAGE EFFECTS.

How the Stage of the Theatre has Been Metaphised.

Since the coming of Mr. Henry C. Tryon, to Salt Lake, the patrons of the theatre have enjoyed a series of the most agreeable and delightful surprises, which have crowded upon each other in rapid succession. These surprises being the many superb scenes from his masterly hand. But one portion, however, of Mr. Tryon’s labor and suggestions have been invisible to the public, until last night., when, the “snap” was given away, and the work which it has taken months to accomplish was displayed to the public. This at once became a matter of general conversation and all expressed their admiration of the marvelous change that had been wrought. A brief description, however, will be of as much interest to the public at large and afford the same pleasure it did to those who were present last night. It may be well to state right here, that this new feature makes the Salt Lake Theatre the equal to any building in the country for the production of scenic effects and magnificent displays.”

And here is the description of the renovation that is worth noting:

“The stage of the theatre in width and depth is one of the largest in the country, but a portion of this great space has heretofore been practically useless, owing to the fly gallery projecting more than was necessary, thus materials cutting off the width of the scenery. At the back of the stage was a wall partition with an opening in the centre and the space in the rear was used as a storage room for the storage of scenery not in use. These partitions have been torn down and the depth on the stage increased by twenty feet.”

“A serious defect under the old arrangement was that fact that fifteen feet in height (immeasurably important in scenic manipulation and effect) was rendered valueless by a plaster ceiling. This desirable space has been entirely lost to the stage and scenic equipment. By cutting out the ceiling referred to, a height of sixty feet from the stage has been obtained, which is not only sufficient to give room in which to take up the drop curtain (to be painted) bodily, without rolling, but affords ample room for any stage purpose whatever. If the audience sat at the theatre last night, who saw the enormous foliage borders which, starting from the tops of the wings, filled up the space visible through the lofty proscenium opening, will consider the height necessary to pull them up and out of sight, they can readily understand the value and necessity of a rigging loft. In building this there were some peculiar mechanical difficulties to overcome, owning to the fact that the roof, in great measure, was supported by beams from the former ceiling. These supports had t be entirely readjusted, and Mr. Henry Grow carried this part of the work to an entirely successful conclusion. To sum up there has been the entire change in the arrangement of everything connected with the stage, the management wisely concluding that everything had been wrong and nothing right; while now there is not a theatre in the land with features of any great importance not possessed by this.

“The same sweeping changes have been made in the scenery have been made and are now being made in the scenery and by the time the management call the house complete, not a foot of old scenery will remain, and the Salt Lake Theatre will be as thoroughly equipped in amount and in artistic quality as any other. The credit for pushing these improvements to so successful an issue is due to General H. B. Clawson, whose instructions to those employed have been to make everything as complete as the most perfect theatre can boast.

Of course we say nothing here of the improvements that are to be effected in the auditorium, as this will be palpable to the public from time to time as they progress. The management of the Theatre is to be complimented no less of the energy and liberality with which it has had the work here referred to prosecuted, than in the choice it has made of the person by whom these improvements have been brought. At the time Mr. Tryon came here the improvements were contemplated and already commenced, but he so thoroughly entered into the idea of the management and showed such consummate knowledge of stage machinery as well as scenic effects, that the task was immediately resigned into his hands and he was given carte blanche to follow his own sweet inclinations. How well Mr. Tryon has acquitted the task assigned him, every patron of the Theatre and every lover of art already knows. Such effects as have already been wrought by his brush have never been seen here, and rarely anywhere else. He is essentially a scenic artist – a genius in his line – an indeed he is an artist in the highest sense of the word, his superior taste and unerring judgement being recognized no less by his associates as the Theatre than by members of the art fraternity of this city. It is not surprisingly therefore, that a man possessing his unusual talents, and having withal so large experience, should be capable of working such rapid changes, that the troupe now performing at the Theatre, which here about three weeks ago – expressed the utmost astonishment at the wonderful alterations that had been effected in the theatre during so brief a period. The delicate taste, the blending of colors, the peculiar character which belongs to each scene and which marks it from every other scene, all give evidence of the master hand and of the thoughtful artist; and cause his handwork to be admired by those who, unlearned in the details of the glorious art, are nevertheless sensible to its beauties, as well as by those cultivated taste and of experience.”

By the time Tryon’s drop curtain was unveiled, his notoriety had increased substantially throughout the western region. His drop curtain for the Salt lake Theatre was pictured in George D, Pyper’s 1937 book, “The Romance of an Old Playhouse.”

*Henry C. Tryon’s drop curtain for the Salt Lake Theatre, included in Geo. D. Pyper’s book, “The Romance of an Old Playhouse.”*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1100 – Henry C. Tryon and the Salt Lake Theatre, Utah, 1883

The Salt Lake Theatre Under Construction. https://commons.wikimedia.org/wiki/File:Theatre_(under_construction),_Salt_Lake_City,_Utah,_from_Robert_N._Dennis_collection_of_stereoscopic_views.png

There are three personalities that swirl around each other at the Tabor Grand Opera House during the early 1880s – Robert Hopkin, Henry C. Tryon and Henry E. Burcky. Keep in mind that all three artists were credited with painting scenery for the Tabor Grand Opera House in Denver between 1881 and 1884.

In 1881, Robert Hopkin painted a drop curtain for the Tabor Grand Opera House in Denver and one for the Grand Opera House in Colorado Springs. From 1882-1887, Hopkin was also listed as the scenic artist for the Grand Opera House in Detroit, Michigan, his hometown. Multiple listings in Harry Miner’s Dramatic Directories credit Hopkin with the Detroit Opera House’s stock scenery collection. He may have been their on-site scenic too.

From 1881 until 1882, Henry C. Tryon was repeatedly listed as the scenic artist for the Tabor Grand Opera House in Denver, Colorado. When he traveled for other projects, he was referred to as “Henry C. Tryon of the Tabor Grand Opera House.” From 1883 to 1884 Tryon worked in Salt Lake City, Utah, and Chicago, Illinois. He also painted numerous touring shows during this time.

After Tryon left the Tabor Grand in 1882, his good friend and former partner, Henry E. Burcky, took over the scenic art responsibilities there, and by 1884 was listed as the scenic artist for both Tabor Opera Houses in Denver and Leadville. He remained associated with the two venues through 1890.

Today’s post looks at Tryon’s career in Utah from the fall of 1882 until the end of 1883.

In October 1882, Henry C. Tryon ventured south from Denver, Colorado to Salt Lake City, Utah to paint scenery for the Salt Lake Theatre. By January 1883, Tryon was also working in Springvale, Utah. He painted $1000 worth of stock scenery for the Springvale Theatre Hall, assisted by his younger brother Spencer Tryon. Alfred Lambourne was also working with the Tryon brothers during this time.

Sadly, their paintings in Springvale were destroyed only a few years later. Flames spread to the stage when a mill behind the theatre caught fire, destroying all of the scenic artists’ work. Regardless of the venue’s fate, it was the Springvale project, that secured other work for Tryon in the region. While in Springvale, Tryon shared an employment offer with the local newspaper, subsequently pressuring the Salt Lake Theatre to offer him an immediate position. Since the fall of 1882, Tryon had sporadically painted stock scenes for the Salt Lake Theater. However, he did not hold an official position. This meant that he still remained associated with the Tabor Grand Opera House, as that was his last place of employment.

On January 8, 1883, the “Deseret News” reported, “While in Springville, Mr. H. C. Tryon received a letter from the management of the Grand Opera House, San Francisco, offering him the position of scenic artist of that institution. He sent the letter to the management of the Salt Lake Theatre, who promptly entered into contract with him to do a large amount of work” (page 3).

In the end, Tryon painted 25 stock sets for the Salt Lake Theatre. In the process, he became a regional success. Tryon’s completed scenes were added to the stage as touring productions visited the venue.

On April 22, 1883, the “Salt Lake Herald” reported, “Mr. Henry C. Tryon is still hard at work on scenery for the Salt Lake Theatre. The patrons of the old house have been very much pleased with the new scenes which have been presented of late. Something new in the scenic line is shown at nearly every performance, and the end is not yet, by any mean., There is still much work to be done before the theatre is thoroughly stocked, and thoroughly stocked it will be before the mangers cry, “enough!” There will not be a foot of old canvas in the building when Tryon leaves for pastures new. The best scene that has been exhibited lately was used in the first act of the Harrison’s “Photos,” and it has received a vast amount of praise from all who had the fortune to be present, and who can appreciate a fine thing when they see it. The scene is an Elizabethan parlor, with high wainscoting and a deep cornice of dark oak, decorated richly with gold, the walls hung with brilliant crimson damask, relieved at the top and bottom, next to the cornice and wainscoting, with a twelve-inch band of black and gold. The centre of the room, for a width of twelve feet, appears to project about eighteen inches; in front of this again is an elaborate centre-door, on each side of which are polished gray marble columns, supporting the massive framework of the door, the architecture of which reaches above the cornice, The composition and color are of the simplest description possible, but the richness of the effect produced by the skillful handling of lights and shadows from the massive projectives, and the gradations of color – the light flashing from the polished surface of oak and marble, and the character of dignity and grandeur, which has not been lost sight of in single detail – give a singular effect of realism to the work, which appears to be not a representation, but really the aristocratic abode of some wealthy English lord, possessing the most elegant and refined taste, and with almost unlimited means at his command. For richness, beauty, harmony and nobility, it is not easy to see how the subject could be excelled, and we are not surprised to hear that the members of the dramatic companies who have seen it, state that it is the most chaste and elegant scene if its kind, in design and color and in character, to be found in the whole country. We congratulate Mr. Tryon, and are pleased to see the interest he takes in all he does; and if the work referred to above is not art in its truest sense, then we would be happy to know just what art is” (page 12)

The 1884-1885 issue of “Harry Miner’s American Dramatic Directory,” describes the Salt Lake Theatre as having a seating capacity of 1,850, with a stage that measured 65’ x 70’. The listing also describes a proscenium opening of 28’-0” x 32’-0” and 18’-0” groove heights. There was 52-0” from the stage floor to the rigging loft, suggesting that much scenery was flown out of sight during a scene change, but grooves were available for wings and other flat stock scenery carried by touring productions.

By July 22, 1883 “Salt Lake Daily” reported, “The improvements which have been in progress at the Salt Lake Theatre during the past nine or ten months, under the direction of Henry C. Tryon, the noted scenic artist, have attracted a great deal of attention from theatrical men generally. Especially is this true of those professionals who had been here prior to the changes (referred to in detail from time to time in these columns) as they have progressed. It is needless to say surprise is universal when the marked change that has taken place is noticed, and the expression invariably is that one would never have believed such important improvements could have been effected in so brief a period… the changes which have been effected in that building would strike the attention with greater force than that of a casual observer, or even a theatrical man whose opportunities noticing the difference have been less favorable.”

It is important to note that Tryon was not simply painting new scenes, he was engineering new stage machinery for the Salt Lake theatre. His changes to the system made it easier for touring productions to install their scenery.

The newspaper also interviewed theatrical manager, Marcus R. Mayer about Tryon’s work. Mayer commented that the work completed under the direction of Tryon supported “metropolitan advantages.” Mayer stated, “I can imagine the surprise and delight with which the Kiralfys will look about them when they first set foot on the stage. We will be able to present our scenery here with its full effect, and that is something and that will be something we will be able to do in very few places after leaving here. Tryon is evidently a man who knows much about stage requirement as any person since, as I am informed, the extensive changes have been made by his direction and mainly under his supervision.”

Mayer was then asked, “By the way, what do you think of Tryon as an artist?” Mayer’s response, “Tryon? We he has a national reputation. The fact that he is engaged to paint the scenes is a guaranty that the scenes outfit will be on par with any theatre in the United States. He is none of your fellows who depend on village theatre for a livelihood; his services are in demand all the time and the only thing that beats my penetration is that so expensive an artist could be obtained to come to Salt Lake. The scenes already painted are the equal of anything in stock in the country.” Mayer ended his interview stating, “The management of the Salt Lake Theatre foresaw just what I’ve told you, and knowing the companies now coming could not endure the old arrangements, they determined to fit the stage up first-class modern style, and Tryon was just the man for the conspiracy.”

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

To be continued…