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Copyright © 2020 by Wendy Waszut-Barrett

 “W. J. Moon carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890” is penciled on the back of a jungle wing at the Tabor Opera House in Leadville, Colorado. William J. Moon was a local resident and Henry E. Burkey was a scenic artist who began his career in Chicago. By 1884, “Harry Miner’s Dramatic Directory” listed “Burckey, Tabor Opera, Denver” as the scenic artist for the Tabor Opera House in Leadville; he was working for both venues. Burckey was still working for Tabor five years later. After completing the jungle wings for the Tabor Opera House in Leadville, the “Herald Democrat” reported his departure for Denver on October 16, 1890, noting “Mr. H. E. Burcky left last evening for Denver.” 

Yesterday I wrote about stage carpenter and stage manager W. J. Moon. Today I explore the life and career of  Henry E. Burckey (1852-1908). Burckey was been a bit tricky to track down, as the spelling of his name greatly varies in newspaper accounts and historical records. Variations included Burckey, Burkey, Bercky, Berkey, and Burcky; I am going with Burckey.

Born in 1852, Henry E. Burckey was the son of German immigrant Frederick Burckey (1813-1902). The 1850 US Federal Census lists that Frederick Burckey was born in “Frankfurt-Main” and emigrated from Germany in 1830. He eventually settled with family in Chicago area where he resided until his passing on October 21, 1902. Frederick was employed as a confectioner until he opened a restaurant with Augustus Berlin. He later worked as a clerk.

The 1870 census listed that Burckey was living with his three sons William, Henry and Charles, ages 16, 13 and 7.  Between 1870 and 1875, Henry entered the theatre industry and became a scenic artist.  He entered the scene about the same time that Thomas G. Moses did, about 1873-1874. By 1875 Henry was listed as “scenic artist” in the “Chicago Directory” living at 83 S. Halsted. Interestingly, Henry’s younger brother Charles followed him into the painting business and was listed as a “painter” in the 1880 Census. Burckey remained in the directory for the next decade, despite working for extended periods of time in other regions. At this time Chicago was a major theatrical hub with equal access to almost all of the country; it was the place to be during the second half of the nineteenth century. Ever-expanding railways provided easy routes for the marketing and shipping of both goods and services. A vast transportation network allowed remote communities access to a variety of services when constructing a performance venue that included scenic art. Many scenic artists, such as Burckey and Moses, made the Windy City their home and constantly traveled to new venues. Even when working for a studio, their lives remained that of itinerant artists.

By 1880, Henry Burckey, painted an old mill scene for the “Frog Opera.” The production toured New York, Philadelphia and Baltimore. By the spring the production played at Chicago’s Central Music Hall (Chicago Tribune, 16 May 1880 page 11). As Burckey made a name for himself, he began to partner with other well-known and respected scenic artists, such as Henry C. Tryon.

In 1880, Tryon was working as a scenic artist at McVicker’s Theatre, where he came in close contact with Thomas G. Moses, as well as Joseph Sosman, of Sosman & Landis. Moses joined Sosman & Landis in 1880 as their first employee, Tryon would follow four years later. There was an abundance of work for many, and the fortunate few secured permanent positions in popular theaters and opera houses.

By 1881, “H. E. Burcky” was listed as scenic artist at Hooley’s Theatre in Chicago. At this same time Burckey partnered with Tryon to provided scenery for Cincinnati’s Opera Festival. They worked alongside some other very respected gentlemen, including Fox, Magnani, Humphreys, Hughes, and Rettig & Waugh. An article in the “Cincinnati Enquirer,” reported, “Messrs. H. E. Burcky and Henry Tynor [sic.], the young and talented artists who came here from Chicago to assist painting the scenery, have been doing excellent work. They are bright, intelligent and rapid worker and but for their assistance it would have been difficult to have the scenery ready by Monday next. Mr. Burcky is scenic artist at Hooley’s Theater in Chicago, and Mr. Tryon at McVickers. They express themselves as amazed at the extent and magnitude of the affair” (“Cincinnati Enquirer,” 15 Feb 1881, page 4).” Burckey and Tryon were applauded for one “Magic Flute” setting, heralded as a “Beautifully painted scene.” The “Cincinnati Daily Enquirer” article described the painting; “…massive rocks in the foreground appear so real as almost to deceive the eye.  Rich masses of dark foliage relieve their barrenness while their golden-yellow color is projected boldly from the deep blue sky.  Two transformation tableaux occur in this scene, the first the ordeal, by fire, remarkable for its brilliancy and warmth of color; the second, the ordeal by water, for its cool and delicious coloring, complete contraries delightfully portrayed” (23 February 1881, page 4).

The opera festival was not only a game changer for each artist, but an incentive to travel westward. By the fall of 1882, Tryon had left Chicago and was working in Denver, Colorado, for Horace Tabor. Even when Tabor traveled to Salt Lake City for work, newspapers listed the artist as “Mr. Henry C. Tryon, of the Tabor Grand Opera House” (“Ogden Standard,” 30 Sept, 1882, page 3).  Two years later, Burckey became known as “H. E. Burckey, the artist of the Tabor Grand” (“Memphis Daily Appeal,” 19 Nov. 1884, page 2). It remains unclear if they worked together on scenery at the Tabor Grand between 1882 and 1884.

Regardless, Burckey became the sole scenic artist at the Tabor opera house by 1884, the same years that Tryon returned to Chicago to work for Sosman & Landis. In 1884, Moses wrote, “Henry C. Tryon came to the studio to work.  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.” Tryon also joined Moses and John H. Young on a sketching trip to West Virginia in 1885. I will expand Tryon’s story in the next few weeks.

Between 1880 and 1884, Tryon submitted a series of articles about the scenic art profession in papers across the country. On Dec. 19, 1880, the “Chicago Tribune” published “ Scene Painting: Some hints to the Public Regarding a Special Department of the Painters’ Art Not Well Understood” by Henry C. Tryon (page 19). Here is the link to the article as I included it today as part of my “Tales from a Scenic Artist and Scholar” storyline (part 1087): https://drypigment.net2020/10/11/tales-from-a-scenic-artist-and-scholar-part-1087-henry-c-tryon-scene-painting-some-hints-to-the-public-regarding-a-special-department-of-the-painters-art-not-well-understood/

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Yesterday I resumed “Tales from a Scenic Artist and Scholar” after a short break. Although I returned to the year 1921, an 1884 article prompted me to revisit a friend and colleague of Thomas G. Moses – Henry C. Tryon. This is just one example of the many rabbit holes I get sucked into while doing research. But I have no deadline and can enjoy these sidetracks.

Moses first worked with Tryon at Sosman & Landis in 1884, writing “Henry C. Tryon came to the studio to work.  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 1884, Tryon left two scenic art positions; one as scenic artist at the Tabor Grand Opera House in Denver, Colorado, and the other as scenic artist for the Salt Lake Theatre in Utah. He returned to Chicago, joining the Sosman & Landis staff for a year.

Now I am in the midst of writing historical analyses, conditions reports, replacement appraisals and collections care programs for the historic scenery collections at the Tabor Opera House in Leadville, Colorado. Some of the scenery is signed and dated, including jungle wings painted by Henry E. Burckey in 1890. Burckey and Tryon partnered in the early 1880s and then both worked at the Tabor Grand in Denver.  Burckey was still working at both the Tabor Opera House in Leadville and the Tabor Grand Opera House in Denver in 1890. You can find more information about Burckey at www.drypigment.net (keyword search “Tabor Opera House” or “Burckey”).

So, I am killing two birds with one stone this week, but there are lots of moving parts. While researching Burckey and Tryon for the Tabor project, I came across a series of article written by Tryon in the 1880s. He describes the scene painting profession, and I am compelled to share them as part of the “Tales of a Scenic Artist and Scholar” storyline.

Here is the first one published in the “Chicago Tribune” on December 19, 1880:

SCENE PAINTING.

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

Chicago, Dec.8.-

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

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

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

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

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

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

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

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

            -Henry C. Tryon

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

For additional installments, go to www.drypigment.net

It is often difficult to identify the work of nineteenth-century stage carpenters, seldom did they sign their work. When you factor in natural disasters, building renovations and changes of ownership, the challenge increases exponentially. Last month I evaluated a collection of nineteenth-century stage settings at the Tabor Opera House in Leadville, Colorado. Tucked away in the attic were dozens of wings, shutters and borders, placed there when the building was renovated over a century ago. On the back of one jungle wing was written the name of a local stage carpenter – W. J. Moon. Penciled in near the frame was “W. J. Moon stage carpenter and H. E. Burpey scenic artist, October 1890.” A bread crumb. It just takes a small bit of information to point the way.

The stage carpenter was William J. Moon and the scenic artist was Henry E. Burckey. There is no question that scenic artist “H. E. Burpey” was actually scenic artist “H. E. Burckey,” as newspaper accounts place Burckey in Leadville during October 1890. Burckey also worked as the scenic artist at the Tabor Grand Opera House in Denver, Colorado. His scenic art connection to both the Tabor Opera House and Tabor Grand Opera House is noted in theatrical guides too. The earliest mention of Burckey’s role as scenic artist for the Tabor Opera House in Denver was in 1884. Although there is no indication as to when Burckey began working part-time in Leadville during 1890, he departed town on October 16. The “Herald Democrat” reported “Mr. H. E. Burcky left last evening for Denver.” Again, the jungle wings for the Tabor Opera House are also dated October 1890.

This is the first of several posts about the Tabor Opera House’s nineteenth-century scenery collection. The stories of Moon and Burckey are quite complicated, each intersecting individual characters explored in past posts at www.drypigment.net.

I am starting with the life and career of William “Willie” James Moon (1867-1920). The 100th anniversary of his passing is only eleven days away, and that was my sign to start with Moon.

“Willie” Moon was a local resident of Leadville, Colorado, moving to the area as a child. Historical records list Moon’s parents as Jasper O. Moon (1831-1880) and Charity Peterson Moon (?-1895). Born in Missouri, there is no indication of the Moons’ eastern roots or why the family moved west. However, the promise of wealth associated with mountain mining camps was often enough to uproot anyone.

The 1870 US Federal Census listed the Moons as living in Granby Township, Missouri. The household included thirty-year old farmer, Jasper, living with his wife Charity (30 yrs. old), son William J. (3 yrs. old), daughter Elva (1 yr. old) and Mary J. Peterson, Charity’s twenty-year old sister-in-law.

The 1880 census listed a 13-yrs. old William living in Leadville with his mother and uncle, John Peterson; Peterson, like Jasper, became a miner. William, Charity and John lived at 318 3rd Street, a few blocks away from the newly constructed Tabor Opera House on Harrison Avenue. The 1880 Leadville Directory listed Jasper O. Moon living next door at 316 W. 3rd; how odd.Moon spent most of his life in Leadville living very near the Tabor Opera House, only a few blocks away. While I was working in Leadville this fall, I was also living on 3rd St, just a little closer; only ½ block from the opera house.

Moon began his theatrical career as a performer before transitioning to a stage manager and stage carpenter. In 1882, W. J. Moon traveled with the Tennessee Jubilee Singers and performed throughout Colorado. It is possible that he was picked up while the troupe was on tour in the region, like running away with the circus. On Sept. 2, 1882, Moon was listed as staying with the group at the Windsor Hotel in Fort Collins, Colorado. At the time, he would have been 15 years old. Other Tennessee Jubilee Singers at the time included Lew Johnson, Harry Mannaford, Z. A. Coleman, Ed Hawkins, Josh Bell, Effie Allen, Lottie Reno and Nellie Mark (“Fort Collins Coloradoan,” 2 Sept. page 4). Moon was still performing in 1884 when he toured Kansas with the Nashville Students, performing at Painton’s Hall. By this time, he was listed as the lead tenor in the minstrel production “Old Shady am Gwing up North,” featuring southern songs and dances (Weston Herald, Girard, Kansas, 8 May 1884, page 3). In 1885, the Nashville Singers were still touring and featured “original Jubilee and Plantation Melodies, as sung by the children of bondage in their own peculiar manner in religious and social meetings and on the plantation” (“The Record-Union,” Sacramento, California, 16 July 1885, page 2). Moon played the roll of “Pete (a young pickaninny).”

It was this same year that Moon returned to Leadville and was listed twice in the city directory. “Willie” Moon was listed as the stage manager at the Opera House, residing at 121 E. 7th Street, while William J. Moon was still listed at him previous home residence – 318 W. Although “Willie” would not be listed again, William’s home residence would remain on 3rd street in the 1885, 1886 and 1887 directories.By 1889 the Leadville City Directory listed Moon as the stage manager for the Tabor Opera House. He was also listed as the stage manager for the venue in 1891 and 1892. In 1890, however, Moon was listed as the stage carpenter for the Tabor Opera House in the Leadville Directory; this matches the jungle wing scenic notation from October 1890. Keep in mind that during this period stage manager and stage carpenter were often interchangeable titles, both being responsible for the construction of scenery and management of the backstage area.

Moon worked as a stage carpenter at the Tabor Opera House for at least a dozen years. The only difference was that the 1899 Leadville City Directory listed Moon as the stage carpenter for the Weston Opera House. For a time, the Tabor Opera House was named the Weston Opera House, initially under the management of Judge Algernon S. Weston and later under the management of his widow Leticia. By 1900, the Leadville City Directory again listed Moon as the stage manager for the Tabor Opera House.The 1900 US Federal census also listed Moon’s profession as a stage carpenter. Regardless of title, Moon was still listed as living at 318 3rd, but now with a wife and two daughters. Moon married Louise Buffer (alt. spelling Bueffehr) on September 11, 1894 in Denver, Colorado. [Note: my husband and I share the same anniversary as the Moons].

Louise actually worked as a dressmaker in Leadville before marrying Moon, although I have yet to discover what drew her westward from Kansas. It may have simply been the burgeoning economy at the time. In fact, the 1894 city directory listed Miss Louise Bueffehr, dressmaker, residing at 314 East 6th street. Louise was born in Big Creek, Kansas, the daughter of two German immigrants, John and Christina Bueffehr. She grew up on a midwestern farm, one of four children born to the couple, her siblings were Anna, John and Charley.William and Louise Moon couple celebrated the birth of two children by the turn of the twentieth century, with Algin arriving in 1895 and Doris arriving in 1897. Interestingly, Doris Marguerite Moon, born Aug. 16, 1897, was baptized in 1909, and at the time her father William was listed as having “no belief.” Her baptismal records also list the spelling of Bueffehr as her mother’s maiden name.

Moon transitioned from stage carpenter to bartender shortly after the opera house changed hands. The Tabor Opera House was purchased by the Benevolent and Protective Order of Elks (B.P.O.E.) in 1901 and was renovated during 1902, necessitating new scenery as a fly loft was added to the building. The original wing and shutter scenery was simply placed in the attic and I have often wondered why is wasn’t sold or thrown out at that time. It is possible that Moon was a key individual in saving the old scenery, some of it constructed by both he and Burckey.

The 1902 Leadville Directory still listed William J. Moon as a stage carpenter, but his position soon changed. The 1903 Leadville City Directory listed, “Moon, William J., bartdr. Elks Opera House, rms. 303 Harrison av.” In 1910, Moon was still listed as a bartender in the directory, boarding at home of Julia Ross.Moon died at the relatively young age of 52 on 21 Oct. 1920 at 4:00 a.m. The cause of his death was listed as pneumonia. Moon is buried in the family plot at the Evergreen Cemetery in Leadville. His obituary was published in the “Herald Democrat” on October 27, 1920 (page 5) and in the “Carbonate Chronicle” on Nov. 1, 1920 (page 3).

Here is the obituary in its entirety:

“WILLIAM J MOON

The funeral of the late William J. Moon was held from his residence at 222 West Third Street yesterday afternoon at 2 o’clock and was attended by a large gathering of friends of the pioneer. Samuel Thomas, chaplain of the B.P.O.E. order, presided over the services which were marked by the ringing of three duets by Miss Kate McCoy and Mrs. Frank E. Brown who were accompanied on the piano by Miss Anna McLeod. The hymns were “Beautiful Isle of Somewhere,” “I’m a Pilgrim” and the “Home of the Soul.” [Note: I absolutely love “Beautiful Isle of Somewhere].

The casket was covered completely with beautiful flowers and a bouquet by a surviving daughter, Mrs. G. H. Gordon, of California.William J. Moon was born in Missouri in 1868 and during the period of his young manhood came to Leadville where he has resided ever since. He entered the Elks lodge here as one of the charter members ad in the early days was interested in a great extent in mining. When the great Tabor Opera House was operating under the management of Judge A. S. Weston Mr. Moon became stage manager of the house and served in that capacity for a period of two years.

Mr. Moon is survived by his widow, Mrs. Nellie Moon, a daughter, Mrs. C. H. Gordon of San Francisco, a sister, Mrs. J. Olds, of Basalt.The pall bearers, all of whom were close friends of Mr. Moon and fellow members of the Elks lodge, of which he was a charter member, were S. B. Crosby, Gus Ouren, Joe Mann, Alva Bless, Erwin Lockhart and George Hartung. Interment was made in the family plot at Evergreen cemetery.”

To be continued…

From September 20-28, 2020, I visited Leadville, Colorado. My mission was to document the historic scenery in the Tabor Opera House attic. This was the second phase of a project began last February. Six months ago, I examined all of the scenery stored on the Tabor Opera House’s stage. Last month I returned to document the scenery placed in the attic after the Tabor Opera House was renovated, 1901-1902.

During my stay, I was interviewed by Nancy Lofholm at Colorado Public Radio. Lofholm wrote, “At The Historic Tabor Opera House, The Old Stage Scenery Is Now The Big Show.” Here is a link to her article from September 29, 2020: https://www.cpr.org/2020/09/29/at-the-historic-tabor-opera-house-the-old-stage-scenery-is-now-the-big-show/  You may have to cut and paste the link in your browser, as I am having a difficult time embedding it in my post.

Copyright © 2020 by Wendy Waszut-Barrett

I return to the life and times of Thomas G. Moses in 1921. That spring Moses and his wife Ella journeyed south for nine weeks. The primary reason was work; Mitchell and Halbach hired Moses to decorate the Majestic Theatre in Dallas. Other projects included scenery for the Dallas Shrine and an upcoming design for the Little Rock Scottish Rite.

Moses later wrote, “On our return home we stopped in Kansas City for a day, and a day in St. Louis, after an absence of nine weeks.  I could sit down for only a day before I was off to Fort Wayne for a contract for a vaudeville act, which we got.”

A constant stream of activity defined Moses’ career was often characteristic of late-nineteenth-century and early-twentieth-century scenic artists. Even those who represented a particular studio were often on the go, as many projects still occurred on site.  As I track the travels of these artists I am astounded by the time spent on the road.  By 1921, Moses was working for Sosman & Landis again, on annual contract. In 1918 he resigned as president of the firm and sought other opportunities at New York Studios and the Chicago Studios.  He had previously left the firm a few times before, always returning home to Chicago and the main studio on Clinton Street.

In regard to Moses’ 1921 diary entry, he noted stopping by Kansas City and St. Louis.  This was standard, as he kept close contact with fellow scenic artists, both friends and competitors. For years, Moses stopped by the Noxon and Toomey Studio to visit his good friend Patrick J. Toomey.  Likewise, there were several artists that Moses remained close to at the Kansas City Scenic Co.  The scenic art network was essential during times of plenty, as one studio would draw on the resources of another.  For example, Kansas City Scenic subcontracted Sosman & Landis in 1902 to deliver a large scenery installation to the Elks Opera House (previously Tabor Opera House) in Leadville, Colorado.

The is when the past and present intersect. For the past four years I have traced a network of scenic artists from 1870-1930, based upon individual entries in the 1931 memoirs of Thomas G. Moses. I am daily astounded at the scope of work produced by Moses during his career, 1873-1934. Until the past twelve days, I have dutifully written 1 ½ pages each day about Moses’ life, work and colleagues.  When I have been on the road, I often transition from “Tales from a Scenic Artist and Scholar” to “Travels of a Scenic Artist and Scholar,” describing a specific historic theatre or scenery collection. From Sept. 20-27, 2020,  I was in Leadville, Colorado, documenting a historic scenery collection that was stored in the Tabor Opera House over a century ago. The collection was primarily composed of historic pieces from 1879-1890, once used on the original stage before the Leadville Elks (BPOE) purchased the building and renovated the stage. Upon returning to my office in Minnesota, there would still be a month’s worth of research and writing to compile historical analyses, conditions reports, replacement appraisals, and a collections care and management program.

I posted many of my Colorado discoveries, with the intention of returning to the Thomas G. Moses timeline on September 30 when I returned home.  Within two hours of my arrival in Minnesota, we received a call from our eldest child about a medical emergency.  By the next morning I was on the road again, hoping to offer support while awaiting test results; we are still waiting for a definitive diagnosis. On my 4+ hour drive, I planned for the worse and hoped for the best. In the midst of everything, I was also planning the 14^th birthday celebration for our youngest child; I had scheduled my Colorado trip to return with ample time to prepare for the event.

This brings me back to Moses’ mention of Fort Wayne in 1921. This morning I decided that it was time to return to my blog; without writing every spare moment I feel like a rutterless ship.  Recognizing that I would likely never be able to locate the specific show in Fort Wayne, I decided to search for a mention of “Sosman & Landis” in Fort Wayne newspapers. Casting my net wide, they was a mentioned in 1884, just as Landis & Sosman. The firm was competing for the Masonic Temple scenery work, submitting a bid alongside Noxon, Halley & Toomey, St. Louis; Kover & Sons, Cincinnati; and Moses & Co., Kalamazoo.  The Moses & Co. is Thomas G. Moses and Lemuel L. Graham; Graham being the future founder of Kansas City Scenic Co. The irony is that I have been “living” in 1884 for the past two weeks. While waiting for test results, I decided to start doing some preliminary research on the Tabor Opera House attic scenery colleciton, tracing down two artists and exploring their careers during the early 1880s. Keep in mind that the original scenery for the Tabor Opera House was delivered in 1879, with additional pieces being delivered in 1888 and 1890. In the meantime, the Tabor Grand Opera House was constructed in Denver. Both H. E. Burkey and Henry C. Tryon were associated with the venue; Burkey was also listed as a scenic artist for the Tabor Opera House in Leadville.  As I traced the lives and careers of various Tabor Opera House artists, Tryon kept popping back onto my radar; he and Burckey partnered for other projects during this time too.

I have written about Tryon in the past, as he and Thomas G. Moses not only worked together at Sosman & Landis, but also went on a sketching trip to West Virginia in the 1880s. This brings me back to 1884, just after Tryon painted scenery for the Salt Lake Theatre; at the time he was listed as Henry C. Tabor, scenic artist of the Tabor Opera House, Denver. Between 1880 and 1884 Tryon published several lengthy articles on scenic art; I just transcribed one from 1884 yesterday. It is one of the most comprehensive writings about the trade and scenic art process, identified by region, that I have come across to date. Last night, I was trying to figure out when to add this bit of information into my blog. It seems that tomorrow is an appropriate time.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

We finished the attic scenery documentation today, cleaning and measuring the last nine borders by noon. The 28’-0” wide borders had holes for only two operating lines, much different that the current ones designed for use with three operating lines. The nineteenth-century borders depict blue sky, treetops and a fancy pink interior ceiling. These were intended to accompany the wing and shutter sets for the 1879 stage; the borders measuring just 2’-4” in height.  This narrow strip of painted fabric would have been just enough to conceal the gas jets above the stage. No sandwich battens at the top of the borders either, just a 4” board and double rows of tacks. I have encountered this technique several times. It is astounding that these tattered border curtains managed to survive in the attic for over a century without irreparable damage, but it is a testament to a long succession of stewards.

The most recent scenery collection stewards for the Tabor Opera House include Mary Ann Graham-Best, Carl Schaefer, Tammy Taber, as well as many, many other volunteers. Those who I have worked during this month and last February Mary Ann, Carl, Tammy, Kan, Theresa, Ruth, Curt, Janel, Greg, Allie, Derrick, Jen, Mike, Scott, Eric, Theresa “T”, Robin and Donna. My apologies if I missed anyone.

This trip, Michael Powers also traveled with me to volunteer; his work in the attic with Carl helped make lowering the scenery from attic to stage floor safe and secure. Without their support, much of the scenery may be still sitting under a layer of dust, undocumented. The scenery has managed to survive despite a massive renovation (1901-1902), the Great Depression and a series of other financial obstacles. The survival of a historic venue is dependent upon strong leadership leader and community support. A small band of theatre people is not enough, you need the support from those outside of our industry too.

Evelyn E. Livingston Furman was one of the great leaders and scenic stewards for the Tabor Opera House. She also wrote “The Tabor Opera House: A Captivating History.” In the publication, Furman includes some details of the early scenery. Her words leave a legacy.

There are a few things to keep in mind as we explore the nineteenth century scenery delivered to the Tabor Opera House…In 1879 Horace A. W. Tabor purchased wing and shutter scenery for the Tabor Opera House. Some of the earliest scenes included a mountain setting  (Royal Gorge), forest, garden, palace, plain chamber with balcony, and a prison. We know that more scenery was delivered in 1888, and included a horizon (seascape), European street setting, rustic country setting, rocky pass, and Eastern street scene. This is the same time when some of the original stock scenery were repainted and a few new scenes were added to the original wings, shutters and roll drops. Only eight shutters that remain, some double painted. The six surviving settings include a rocky pass, rustic country landscape, cut woods, European street scene, Eastern street scene, and winter scene. These all have flat sheaves that make the settings glide across the stage floor on wheels. In 1890, a series of eight jungle wings were also added to the stock, built by William J. Moon and painted by H. E. Burpey.

The technical specifications for the Tabor Opera House stage paints a pretty picture, including a 6” rake. The 1884 issue of “Harry Miner’s Dramatic Directory” noted that the Leadville’s Tabor Opera House had a seating capacity of 800. H. A. W. Tabor’s second theater, the Tabor Grand of Denver, boasted a seating capacity almost twice that – 1,500. Tabor’s second theater was much larger than that in Leadville. The proscenium opening in Leadville was 23 feet wide  by 17 feet high , whereas the proscenium opening in Denver was 34 feet wide by 33 high.

The size of the Tabor Opera House stage in Leadville measured  34-feet deep by 60-feet wide. The Tabor Grand Opera House stage in Denver measured 45-feet deep by 75-feet wide. The grooves (for wings) measured 16 feet in height at the Tabor Opera House in Leadville and 20 feet in height at the Tabor Grand in Denver.

 “Harry Miner’s Dramatic Directory” also listed that Leadville’s Tabor Opera House boasted 12 sets of scenery, whereas the Tabor Grand had much more, 50 sets of scenery. The two venues were drastically different when examining the types of stage scenery and machinery. In Leadville, the Tabor Opera House used wings, shutters, and roll drops, there was only 19 feet from stage to rigging loft. In Denver, there was a grid 66 feet above the stage floor, accommodating a series of leg drops, cut drops and backdrops., in addition to grand interior setting.

At the current Tabor Opera House, there is a significant amount of used scenery produced for an earlier, and larger, venue.  These pieces likely belonged to the Tabor Grand, and the scenes include borders, interiors settings and at least one set piece (step unit). There also pieces left on site from touring shows.

In short, there is a treasure trove of scenic art and stagecraft, depicting the delightful transition from Nineteenth-century itinerant artists painting stock scenery on site to early twentieth-century studio artists painting scenery at a distant location.

I have about four weeks of work in front of me once I return this week. It will take a while to decipher the information collected on site, compiling historical analyses, conditions reports, appraisals and a collections care and management program. Although I have written about 700 pages pertaining to the 1902 collection delivered by Kansas City Scenic Co. and Sosman & Landis Scene Painting Studio, there is much more to go. I am taking three days off to return home and then will resume “Tales of a Scenic Artist and Scholar,” about the life and times of Thomas Gibbs Moses (1856-1934)

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

For additional installments, go to www.drypigment.net

Saturday was our last big day to lower scenery from the attic at the Tabor Opera House in Leadville, Colorado. It was the sixth of seven workdays in a row. We did manage to hit our goal of lowering all remaining shutter scenes, plus a few other pieces, to the stage floor. The attic looks positively bare. Only eight borders remain for me to document today. That being said, some scenic pieces still remain in the loft above the attic and on platforms high above stage right and stage left. Documenting the final shutters, wings and borders will have to wait until next time.  The amount and the scope of the scenery at the Tabor Opera House is staggering.

The biggest surprise this week was discovering a marked piece of scenery from the Tabor Grand Opera in Denver. This was Tabor’s second theater. There are some interior set pieces and borders obviously created for another, and much larger.  There are also a few pieces from touring productions that never left the Tabor during the nineteenth century. It will be fun to track down more information in the upcoming weeks.

The majority of the work this week was completed by volunteers without any background in theater. Their careers varied from nursing and teaching to law and public service. Some were born in Leadville and others not; all were passionate about the project.

Painted scenery produced for the stage a century ago continues to have  a broad appeal to the general public. Well painted scenes still cause people to gasp, as did much of the scenery at the Tabor Opera House. It is just magical.

For the next few weeks, I will continue to post images from this week’s documentation, focusing on individual scenes and painting techniques. More tonight.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

I feel wonderfully exhausted after today’s activities. There have been too many long days spent at the theatre, and too many short nights spent at home deciphering the day’s information.

I was asked tonight by Colorado Public tonight what it felt like to uncover scenic treasures at the Tabor Opera House in Leadville Colorado.  It took me a minute to respond, as “magical” is too simple a response; the experience is much more than that for me.

Removing the layers of dust from an historic stage setting is like stepping back in time and embracing old friends. Seldom am I overwhelmed with emotion when a scene is lowered to the stage. In most cases, it is like the comfort of a warm banket on a cold day.  Today, I teared when the first two shutters were joined, creating a rustic country scene.  We sat in the audience admiring the painted shutters by Frank Cox from 1888.  It had taken more than a century for this onstage reunion and we reveled in the moment.

Some of us feel we were born into the wrong era, embracing the aesthetic of another time and place our entire lives; I am one of those people. Today, I would have given anything to stand in the wings and help position these freshly painted new shutters into place for the next scene.

What a transformative experience.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

There is more scenery at the Tabor Opera House in Leadville, Colorado than I expected – go figure. In addition to the attic scenery and that in the attic loft, historic scenery was spotted in two other locations – the fly gallery and the corresponding stage left platform. This is on top of that already documented on the stage. I had to check the finds out.

The first thing that I did this morning was to climb up a wooden ladder to the stage-left platform. This was about twenty-five feet above the stage floor; one of those wooden original wooden ladders that always make me a little nervous.

Yes, there are more treasures up there, including a bridge profile piece, some ground rows depicting water, several platforms and a few crumpled soft goods. I doubt that they will come down this trip. There was also a deteriorated flat on the fly gallery level, once used to block sunlight from a window. It was from the same setting that we set up yesterday; the missing sixth wing. Sever deterioration and faking allowed me to examine the primer and a previous base coat of paint.

We continued to lower attic scenery to the stage throughout the day, forming neat little piles of flats, divided by composition. Lowering each piece from the attic door, the scenes were guided by an individual on the pin rail while a group in hard hats waited below. We are now all in sync and the process is going beautifully. Regardless, this is a relatively slow process, and I desperately tried to be in two places at once – both the attic and stage, while still documenting scenery in various locations. The surges of adrenaline from each new discovery kept me energized throughout the day, well into the board meeting this evening.

The majority of the scenery (once stored in the attic) has been removed and is patiently awaiting further instructions on stage. We have saved many of the larger pieces for tomorrow; reducing the number of smaller pieces that surrounded the largest ones. Despite the camaraderie and constant stream of adrenaline, it was another physically exhausting day for all.  The entire crew, including myself, are volunteers. We each have participated in the documentation process because we believe in the cultural significance of these artifacts. That being said, I am being hired to create documents containing a historical analyses, condition reports, replacement appraisals and collections care managements forms.

I ended by day attending a zoom meeting with the Board of Directors and the architects. It is so wonderful to meet with such a group of passionate individuals. We all understand that this is a crucial moment in the future if the Tabor Opera House. We see the potential in the building and scenery collections; it extends throughout the area. Even Ziska Childs drove over from Aspen and volunteered today, cleaning off some dust from flats before they were sent to the stage floor.  It was so wonderful to share the beauty of these painted shutters with a friend and colleague.  Similarly, Bruce Bergner from the University of Colorado, Colorado Springs, has also been on site for two days. It is so wonderful to work with him on this project. And I cannot forget to mention that Michael Powers traveled with me from Des Moines, Iowa, to help on site this week.

The most exciting discovery for every are the shutters. I have been waiting for over two years to see each shutter on stage with its mate. Of course, the shutters have been waiting even longer since they were placed into storage over a century ago.  Tomorrow, we will commence with the arduous task of lowering the shutters to the stage floor. The 12’ x 16’ pieces will be a challenge as they are lowered floor some 40 feet below.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

We all experience those tactile moments that conjure up images from the past, offering an instantaneous connection. It can be as simple as using your grandmother’s mixing bowl or your grandfather’s tools. There are so many ways to reconnect and remember times gone by.

Handling historic scenery offers a special connection to the past, especially if the setting has not been assembled for decades. I often wonder if the original creators are patiently waiting in the wings for their scene to appear once again on stage, occasionally stepping in to guide our fumbling hands.

Today, we set up two historic scenes on the stage of the Tabor Opera House in Leadville, Colorado; ones that had been stored in the attic for well over a century. Damaged and dusty, we carefully pieced together two interior sets. I spent a significant amount of time, both last night and this morning, contemplating how I would “put Humpty Dumpty back together again.” Some of the of pieces were intended to work with grooves, effortlessly sliding on an off stage. Others had anchors for stage braces. Some had no indication as to how they were supported. In the end, it just took time, muscle and a crew that trusted my gut instincts.

The process was almost as satisfying as the outcome. It is hard to express my emotions as the stage was transformed today.

I first laid eyes on a piece from the setting two years ago.  At the time I could only envision how this would look on stage. Seeing it assembled surpassed all of my expectations. Although some of the colors are faded and some of the fabric is torn, there is an insuppressible beauty to the painting. It was absolute magic.

To be continued…