Drypigment.net

Copyright © 2019 by Wendy Waszut-Barrett

Sosman & Landis delivered scenery for a production of  “The Elk’s Tooth” in 1913. An elk’s tooth was known for good luck, and was incorporated into watch fobs, tie clips, necklaces, earrings and other personal artifacts at the time. It was also the theme for a play written and staged by H. L. Brown. The play became associated with the Benevolent and Protected Order of Elks.

On October 1, 1913, Oregon’s “La Grande Observer” included the article about the production of
“The Elks Tooth” with scenery by Sosman & Landis:

“Seat Rush is on Saturday. The Elk’s Tooth is a great big extravaganza of bright, wholesome comedy, catchy music, clever dancing all superbly mounted with special scenery and gorgeous costumes especially made and designed for this especial piece. The scenery was built and painted by the big Chicago firm of Sosman & Landis and is without doubt the finest ever brought to this city. Act 1 represents a big modern ocean liner at sea, and is considered to be the most complete setting of a ship on the stage today. Act II is the shore of a south sea island with a wealth of tropical foliage. Act III shows a south sea island village of thatched roof huts over looking the ocean in the distance. A special crew of ten stage hands will be required to handle the scenery alone at the performances next Monday and Tuesday nights, Oct. 6^th and 7^th.”

“The Elk’s Tooth” was described in the “La Grand Observer” on Oct. 6, 1913: “The play opens on board an ocean liner, which is lying in a bay of a south seas island repairing machinery. Among the many passengers who are on board are two American tourists traveling around the world under a wager, disguised as a Dutchman and a tramp. The plot hinges on these two characters. At the close of the first act, a genuine southern storm comes up and the ship narrowly averts being wrecked on he rocks. During the storm, the Dutchman and the tramp are blown overboard, while the ship catches fire and is blown out to sea with all on board. Fortunately a chicken coop is blown overboard, to which the two men cling until morning, when they are washed ashore. As they land on the island and are contemplating a search for food, a tribe of cannibals overpowers them and ties them to trees. The cannibals build a big fire and prepare for a feast when they discover the Elk’s tooth worn by the Dutchman, Hostilities cease, and, very much to the surprise of the American’s they crown the Dutchman king. The mystery surrounding the elk’s tooth provides the theme for a subsequent developments and final conclusion of an interesting and thrilling story. The ludicrous situations in which the two comedians find themselves furnish an abundance of humor that is ever clean and wholesome, and the beauties of a southern tropical island form an appropriate setting for the choruses and dances” (page 4).

The cast of characters is quite humorous in itself. The Dutchman is named Weinie Wurst. The Tramp is named Easy Tyme.  The S. S. Sea Queen crew includes Captain Blowhard, mate Bowling Knott, and Griddle, the cook.  The cannibals living on the south sea island of Kokomo are led by Cookem Quick, the chief. The titles of the songs are not as creative, but range the gamut from “Oh, Merry Maiden” to “By Right and Discovery.”

Of the production, the “Statesman Journal” reported that H. L. Brown’s operatic comedy was “recognized as the greatest production for Elks’ theatricals in the country…a carload of scenery and equipment is carried by Mr. Brown, the director” (5 Jan. 1913, page 4). So popular was “The Elk’s Tooth,” that it later became a movie in 1924.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “I did a ‘swell’ curtain for Holland, Michigan, and I sincerely hope they will like it.” Moses was referring to the Knickerbocker Theatre of that city, managed by J. A. Simon. Little is known of Moses’ painting beyond his diary entry. In 1913, Holland boasted a population of 11,000. Julius Cahn’s Official Theatrical Guide listed an overall drawing population of 15,000 for the venue.

Located at 86 East 8th Street in downtown Holland, the ground-floor venue had a seating capacity of approximately 883, with 17 Loges. The proscenium opening measured 26 feet wide by 21 feet high. The stage was 30 feet deep and 48 feet wide. It was 50 feet from the stage floor to rigging loft and 24 feet to the fly gallery.

Holland is situated in the western region of Michigan’s Lower Peninsula, and was settled by Dutch Calvinist separatists under the leadership of Dr. Albertus van Raalte. The Dutch immigrants sought religious freedom and a better life, establishing their village near the Black River where it streamed into Lake Macataw near the shores of Lake Michigan.

Holland features an annual Tulip Time Festival, an event that originated in 1930. Currently, six million tulips are used throughout the city, planted along city streets, in city parks and outside municipal buildings. There is also a large tulip farm, named Veldheer Tulip Gardens. Other tourist attractions include De Zwann, an original 250-year-old Dutch windmill situated on Windmill Island, and Dutch Village. 

Although the city is best known for its Dutch heritage, there is also an annual Fiesta organized by Latin Americans United for Progress, with the Tulipanes Latino Art & Film Festival that celebrates the Latino cultural contribution.

Holland is home to Hope College, a private Christian liberal arts college. The institution was established in 1851, as a Pioneer School by Dutch immigrants. Hope received its state charter in 1866 and it is affiliated with the Reformed Church in America. The schools 125-acre campus is adjacent to the downtown commercial district and has been shared with Western Theological Seminary since 1884.  In 1988 the Knickerbocker Theatre was acquired by Hope College and remained opened to the public, offering a variety of events throughout the year, including films and theatrical productions. The website notes that Knickerbocker translates to “best in life.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

James Cox established the first scenic studio in Estherville, not his younger brother Jesse. James was the proprietor of Cox Scenic Company throughout the first decade of the twentieth century.  A 1902 ad lists the Jesse Cox Scenic Co., but that advertisement was placed in a Minnesota newspaper. The Estherville scenic company was eventually associated with his Jesse Cox, and subsequently named the Jesse Cox Scenic Company.

Both James and Jesse were scenic artists, with James later primarily focusing on architecture later in his career. The boys’ father was credited with doing all of the carpentry work for the scenic studio.

Spencer J. Cox was born on July 1, 1847 in Mansfield, New York to James Cox and Aphia Webster. He married Julia Anne Hollenbeck (b. 1852) on August 15, 1870, in Grundy, Illinois. Julia was a fraternal twin and daughter of Justus Hollenbeck.  Jesse Cox’s birth name was also Justus, named after his maternal grandfather. Julia’s obituary noted, “To this union eight children were born: Mae, James, Ellry, Jesse, Viola, George, Spencer, and Chauncy Lee. I have not found any information about the girls or Spencer Jr. The couple’s five sons were James Cox (b. 1873), Justus Cox (b. 1878), George L. (b. 1882), Spencer Jr. (b 1884) and Chancy L. (b. 1888). In 1891, the couple moved from Seneca, Illinois, to Estherville, Iowa. After a prolonged illness, Julia passed away on February 4, 1919. Census records note that in 1921 Spencer remarried, with his second wife being Octavia DeVinney (nee. Octavia Turner).

At the time of Spencer’s death, his occupation was listed as a retired contractor. Spencer was also the last surviving member of the Vandenberg Post, G.A.R. The Grand Army of the Republic (G.A.R.) was founded in 1866, joining veterans of the Union Army, Navy, Marines, and the U.S. Revenue Cutter Service. Organized into hundreds of local posts across the country, it was America’s first veteran’s association. The organization’s founding principles were “Fraternity, Charity, and Loyalty.” By 1890, the GAR boasted a membership of 490,000 veterans, such as Cox who served in the Union Army (Co. F., 53rd Illinois Infantry). Spencer enlisted with his brother Patrick.

On March 28, 1933, the Estherville Daily News reported, “S. J. COX LAST OF CIVIL WAR VETERANS DIES” (page 1).  The article also provided some interesting context for the Cox studio.

“Is Given Full Military Honors at Burial Today — Legion in Charge
S. J. Cox, last surviving member of Vandenberg Post, G. A. R. has answered his last reveille. He passed away early Sunday morning [26 March 1933] peacefully, closing his eyes on a long and useful lifetime. Mr. Cox would have been 86 years old on July 1. He was born in Cattaraugus County, New York State, and went to Illinois as a child with his parents. It was in 1891 when Mr. Cox came to Estherville as a contractor and builder. He was associated with his oldest son James for a number of years and later with Jesse Cox in the scenic studio, doing all the carpenter work for the stage scenery, which has been shipped by this studio all over the United States.
Entered Union Army at Sixteen. Mr. Cox was proud of his service in the Union army during the last years of the Civil war. He enlisted in Co. F. 53rd Illinois Infantry, in 1863, and served until the close of the war. He became a member of the Vandenberg post here, and was always ready and willing to take part in all patriotic observances. It was his wish that he be buried with military honors and that he wear to his last resting place the regalia he had worn on so many occasions. Mr. Cox while in failing health was up and about until a comparatively short time ago and took part in the last services for all his comrades in the local Civil war veterans’ post, and insisted on carrying the flag of his country for which he had fought so valiantly. Always happy to talk of his war experiences Mr. Cox could hold a listener enthralled for hours telling of his narrow escapes during the battles in which to took part. He marched with Sherman’s army to the sea, and took part in many of the engagements from Chattanooga to Savannah. Mr. Cox is survived by four sons Jesse of Estherville, George of Des Moines, Spencer of Ames and Chauncey Lee of Indianapolis, Ind. James Cox preceded his father in death and their mother died in 1918. Mr. Cox was later married to Mrs. Octavia De Vinney of Lansing, Mich., who survives. There is also one brother Charles of Arroyo, Calif. and one sister, Mrs. Mayme Colgrove of Wilmington, Ill., left to mourn his passing.”

The details of the funeral service were published:
“Burial Today. Flags in Estherville will float at half mast today in honor of Mr. Cox. Funeral services which will be held at one-thirty from the home on East Roberts street and at two o’clock from the Methodist Episcopal church will be in charge of Rev. W. A. Winterstein. Maurice Doyle Post American Legion and the American Legion Auxiliary unit will attend in a body.
A color escort will attend the services at the home and the Legion men will accompany the remains from the church to its burial place in Oak Hill cemetery where the salute will be given by the firing squad and taps blown. Pall bearers will be Dan Howard, C. J. Mathiesen, R. H. Green, Geo. Lyman, Vance Noe and John Lilley.”

A little more information about Cox was reported in the “Vindicator and Republican” (Estherville, Iowa, March 26, 1933). The obituary notice included a brief history about Spencer Cox original published on May 28, 1913.

“S.J. Cox enlisted at Ottawa, Ill., April 15, 1864, in Company F, Fifty-third Illinois Infantry. He was mustered out of service August 28, 1865. His company engaged in their first battle at Bentonville, N.C., and they saw service from that time on. They were with Sherman at Atlanta and fought in the many desperate battles around that city. They had one hundred days of almost constant fighting from Chattanooga, Tennessee, to Atlanta. At Kenesau Mountain, the battle of the Twenty-eight, and at Janesboro they saw some of the hardest service of the war. There were three members of this post that took part in the hard fought battle of Janesboro. From Atlanta Mr. Cox went with Sherman’s army to the sea and was with him to the end of the war. During the entire time in service Mr. Cox kept a record of the distance he walked and it is most surprising to think that a man could walk 3000 miles as Mr. Cox did. After the close of the war Mr. Cox went to Seneca, Ill., to live. He remained there about thirty years and moved to Estherville twenty-one years ago. Mr. Cox is a very energetic man for his age but has always been very hard of hearing since he came out of the service.”

To be continued…

I just posted the following to my Facebook Group “Dry Pigment.” Every day, I explore one historic scene or design.

Below are images of a backdrop now stored at the University of Minnesota, Twin Cities. Manufacturer unknown at this time. However, it illustrates a point that I have been writing about. This composition shows the use of glazes, building up a shape/composition from light to dark. The use of glazing was associated with the English tradition and those scenic artists who were trained in London before working in the States. This tradition primarily settled in the East Coast and some West Coast areas. That is not to say that examples are not found elsewhere. Two schools of scenic art were established in the United States during the nineteenth century: the English tradition of glazing and the European use of opaque washes. The use of opaque washes was characteristic of many Midwestern studios, such as Sosman & Landis. I have written quite a bit about each scenic art, just do a keyword search on the subject.

Copyright © 2019 by Wendy Waszut-Barrett

There were two Cox families working in theater during the late-nineteenth and early-twentieth centuries. Each included scenic artists, carpenters, and architects.

The Cox scenic art family in New Orleans included Frank, Eugene and Clark. Thomas G. Moses knew and worked with theatrical architect Tignal Franklin “Frank” Cox (1854–1940) during the 1890s. The three Cox brothers operated a scenic and fresco business known as Cox Bros. in New Orleans. It was also referred to as “Frank Cox’s Studio at New Orleans,” with Frank being the eldest and most experienced, leading the firm.  Thomas G. Moses and Frank were close friends and colleagues. Frank Cox’s studio had quite a large staff by 1891 and was located in the Grand Opera House.  Frank withdrew from the partnership in 1896, but the partnership continued to operate under the same name of Cox Bros., despite Frank’s public declamation that the firm was dissolved.  Eugene and Clark published a rebuttal, wanting to make it “thoroughly understood” that they would continue to operate the scenic and fresco business under the name Cox Bros. 

The Estherville Cox family is quite confusing all on their own. Four sons were born to Spencer and Julia in Estherville, three of whom were scenic artists, James S, Jesse M. and Chancy L. However, it was James who first entered the theatrical profession, going from scenic artist and manager to theatre architect and theatrical publisher. Their mother was a seamstress and their father was a carpenter. It was James, however, who was the enterprising instigator and founder of the Cox Scenic Company that became the Jesse Cox Scenic Co. after James’ passing in 1915.

James Spencer Cox was born in Feb. 19, 1873, in Brookville, Illinois.  In 1880, the US Census listed James living with his parents, Spencer and Julia, as well as his 2-year-old brother Justus. Justus would later become the famed Jesse Cox.

James’ artistic ambitions appeared flourished during 1892. He was teaching while working as a scenic artists and decorative painter. The “Estherville Daily News” reported, “James Cox is organizing a class of oil painters, and would be pleased to hear from all those wishing to take lesson. See specimen of work at Klopp’s drug store”  (14 Jan. 1892, page 13). That same year, the “Estherville Daily News” noted, “James Cox is painting some good looking scenery for the opera house” (21 April 1892, page 5). At the time, James was painting scenery for Stivers’ Opera House in Estherville. Cox would later design Lough’s Opera House in Estherville. By 1896, Julius Cahn’s Official Theatrical Guide listed James S. Cox as the manager and the recommended printer for necessary billposters. Cox managed the venue until 1899, when F. H. Rhodes took over as manager. Lough’s stage had a proscenium opening that measured 28 feet wide by 18 feet high. The depth of the stage was 28 feet from footlights to back wall. The stage to the rigging loft was 19 feet and the grooves could be taken up flush with the gallery.

Finally, James received the job of frescoing some of the rooms of Hotel Orleans at Spirit Lake the same year he worked as a scenic artist (Estherville Daily News, 16 June 1892, page 13). He was also playing gigs as a musician at this time with the Emmetsburg band; one was for the Palo Alto county fair (Estherville Daily News, 24 Sept. 1891, page 5).

His professional career also followed in his father’s footsteps, working as a contractor and builder and then architect and superintendent. He designed many buildings in Estherville, including the Lough Opera House (Estherville Daily News 13 Sep. 1894 page 5).  It was in the Lough Opera House that his younger brother Jesse first performed as an actor.

The two brothers partnered on various business ventures in the 1890s. In a way, older brother James paved the wave for younger brother Jesse’s theatrical endeavors. In the mid-1890s, Jesse primarily worked as an actor or musician, but by the end of the decade he began focusing on scenic art. As James was working as a scenic artist in 1892, it was possible that Jesse learned much of his craft under his brother’s tutelage. 1896 Jesse was performing with the Trousdale Specialty Co. in Estherville (Estherville Daily News, 3 Sept. 1896, page 5). Cox was associated with this same troupe four decades later. As late as 1933, he was credited with still providing new scenery and settings for every play (Sioux City Journal, 22 Jan. 1933, page 11).

By 1895, James married Ada Grace Cavin (b. 1874). By 1910, James listed his occupation as an architect and Ada listed her occupation as a news reporter, likely a correspondent for the Opera House Reporter.

In 1897, the “Estherville Daily News” reported “James and Jesse Cox, who have been absent for some time with the Vitascope company, returned home Tuesday evening” (4 March 1897, page 21). Following the premiere of the Vitascope company in April 1896, Raff & Gammon’s Vitascope Co. began marketing the new product. In a sense, they worked as sales agents for the Edison Manufacturing Co. The Vitascope Co. did not last for long, its demise credited to several factors. For more information about this aspect, see “An Illustrated History of the Early Cinema;” here is the link: http://cinemathequefroncaise.com/Chapter2-1/CHAPTER_02_SOURCE_01.html

By 1898, James started a new business venture with his brother Jesse – the Opera House Reporter. By 1904 it was published by the James S. Cox & Co. of Estherville. Interestingly, there is a photograph of their newspaper shop included in the publication “Esther’s Town” by Deemer Lee. Keep in mind that all during the Vitascope adventure and the establishment of the Opera House Reporter, Jesse was still performing in vaudeville. Between 1898 and 1899, Jesse was part of Noble’s Theatre Co. (Estherville Daily News, 6 July 1899, page 21). The “Des Moines Register” reported, “Estherville, Iowa, has a theatrical journal called “The Opera House Reporter.” It is published by James S. Cox & Co., and has been in existence for several years. Its object is to provide a medium for the theatrical managers in the smaller towns in the northwest to air their views and vent their feelings, and judging from reports sent in, it fills an urgent need. Managers in small towns have particular cause for grievance over indiscriminate cancellation of contracts by traveling companies. This and other evils are treated with great candor, as the following communications to the “Opera House Reporter” will show”(6 Jan. 1904, page 5). A series of acts were described in great detail.

On Jan. 12 1906, “The Gazette” reported, “James S. Cox of Estherville, manager of the Cox Scenic studio, was here yesterday, putting in some new scenery at the C. S. P. S. hall. Mr. Cox is one of the largest makers of scenery in the west, giving employment in his studio at Estherville to nine scenic painters. There is a bare possibility that Mr. Cox may be induced to come to Cedar Rapids with his studio” (page 3). On Nov. 3, 1906, “The Courier” reported, “James S. Cox, representing the Cox Scenic company, of Estherville, is in the city today figuring on the scenic work for the new opera house. Mr. Cox says he may conclude to locate in Waterloo. E is well pleased with the city and believes it will prove a more advantageous business location than his present place of business. Waterloo is jut now the Mecca of opera house men, promoters, outfitters and architects, and there is something doing nearly all the time” (Waterloo, Iowa, page 5). By 1914, the “Iowa State Gazetteer and Business Directory 1914-1915” listed Jesse Cox as the proprietor of the Jesse Cox Scenic Company and James S. Cox as architect. Only James was listed in the 1912 directory.

On March 6, 1907, “The Gazette” noted, “James S. Cox of Estherville, editor of the Opera House Reporter, and proprietor of one of the largest scenic studios in the state, is here on business today” (Cedar Rapids, Iowa, 6 March 1907, page 2). James was still running both the Reporter and scenic studio. In 1910, the paper changed hands. The “Sioux City Journal” published, “Estherville, Iowa, Jan 10 – Special: The Opera House Reporter, a weekly theatrical journal, owned and published here by James S. Cox and company has been sold to Will H. Bruno, an actor, who has taken possession. Mr. Cox began the publication of the Reporter in Estherville fourteen years ago. Mr. Cox will remain in Estherville” (11 Jan 1912, page 4). “The Gazette” explained, “Mr. Cox began the publication of the Reporter in Estherville fourteen years ago next month, and has built up the paper from a little four page journal to its present size from twenty to thirty pages, with a circulation all over the United States and part of Canada. Mr. Cox will remain in Estherville as a theater architect, and will manage the Cox Scenic company. Mr. Bruno is a man well known in the theatrical world, having played in some of the largest companies on the road, and for the last four years has been with the Bruno attractions. He will move to Estherville and continue the publication of the journal at that place” (Cedar Rapids, Iowa, 13 Jan 1912, page 8).

James died in Estherville on July 29, 1915, predeceasing his parents and brothers. 

On August 7, 1915, newspapers reported the passing of James Cox (The Gazette, Cedar Rapids, Iowa, page 6).

Here is the notice:

“ESTHERVILLE ARCHITECT DIES AFTER LONG ILLNESS

Estherville, Iowa, Aug. 7 – After suffering from cancer of the stomach for over a year during which time he was treated by specialists at Rochester, Minn., Chicago and New York City, James Cox died at his home here last Thursday and was buried Sunday. Mr. Cox had been actively engaged in the building trade since youth and had won recognition as one of the best architects in the northwest. He had more than twenty public buildings, mostly schools under construction at different points in the state. For several years he was also engaged in the publishing business and was the founder of the Opera House Reporter, one of the leading theatrical magazines in the country, and was also associated with his brother in the Jesse Cox scenic studio. Practically all of the best business blocks and residences in Estherville were designed by Mr. Cox.”

James S. Cox is buried in Estherville’s Oak Hill Cemetery. After James’ death, Ada remarried Jesse Allen Easter, also of Estherville. She was 42 years old at the time. The couple was married on June 25, 1917, in Sibley, Iowa.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

The history of the Cox Studio fits within the 1913 timeframe pertaining to Sosman & Landis scenic artist and studio vice-president, Thomas G. Moses (1856-1934). That year, the Jesse Cox Scenic Company was destroyed by fire. This was the first of two studio disasters, with the second occurring in 1936 when a tornado razed the building.

On March 8, 1913,  Des Moines Register reported, “Estherville, Ia., March 7 – Special! Fire destroyed the Jesse Cox scenic studio in twenty-five minutes. The blizzard from the northwest made the efforts of firemen unavailing. The loss in 2,000 with no insurance. Mr. Cox will rebuild at once. Mr. Cox has a national reputation as a scene painter” (page 12). By that fall, the studio was up and running again. The “Gazette” reported, “An interesting place to visit is the Jesse Cox scenic studio, where several artists are employed at painting scenery for opera houses and traveling theatrical companies and whose work goes into nearly every state in the union” (Cedar Rapids, Iowa, 15 Nov, 1913, page 7).

In 1916, the Jesse Cox Scenic Co. published and distributed a new sales catalogue. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin. I had the opportunity to photograph the copy a few years ago while doing some research and tucked it away until now.

The illustrated 1916 catalogue lists Cox’s second studio location in Estherville, located at 1221 East Roberts Street. A letter from the Estherville State Bank is included in the catalogue and notes that Cox’s firm has “trustworthy and honorable,” having been a client for 18 years. This means that Cox established a studio in Estherville during 1898. In 1898 Cox was also touring as a musician and comedian with the Noble Theatre Co. That spring, the Estherville Daily News reported, “Jesse Cox is here this week with the Noble Theatre Company. He is the same old Jes and his many friends here are anxious to give him the glad hand. The company has an excellent band and Jes, as baritone player, is in his element” (April 20, 1899, page 25). By the summer of 1899 “Jes” adds another feather in his cap and the Estherville Daily News reported, “During his vacation Jesse Cox is busily engaged at the opera house painting twelve complete sets of scenery for the Noble Theatre Co. He will join the company again July 29 at Cedar Rapids, Iowa” (20 July 1899, page 21).

As far as the Cox studio, it was a family affair. Brothers Jesse and James both worked as scenic artists, with James also working as an architect and owner/editor of the Opera House Reporter. James had even designed the Lough Opera House, credited as the location for the Cox’s first studio. Their younger brother George R. Cox (b. 1881) worked as a salesman for the firm in the beginning before striking out on his own (Estherville Daily News, 10, Nov. 1941, page 1). Finally, their father Spencer constructed much of the scenery over the years. His carpentry expertise brought a much-needed skill to the endeavor. Even Jesse’s son, Eugene, would also become a scenic artist for the firm.

By 1902, they firm expanded their scope, advertising in Minneapolis, Minnesota, newspapers for “a good pictorial sign writer” (The Minneapolis Journal, 6 Sept. 1902, page 13).

In 1907, the firm contemplated a move. The Des Moines Tribune reported, “Coming to Des Moines – Fred Buchanan is the authority for the statement that the Jesse Cox Co., of Estherville, will move to this city soon. They expect to erect a large studio for painting stage scenery, in addition to the continuing their theatrical publication, The Stage Reporter (14 Dec. 1907, page 8). The Evening Times Republican added Every opera house manager in the state will be interested in the statement that the Opera House reporter, the leading exponent of the theatrical profession in the west, will soon be moved to Des Moines from Estherville. At the same time, it is said, the big scenic studio of Cox & Company will be moved to the state capital. Some years ago, Jesse Cox & Company, or Estherville, commenced the publication of a small paper devoted to the interests of the opera house managers of the west. The new paper made a hit almost instantaneously, and has grown quite rapidly in recent years in both scope and usefulness. Messrs. Cox have at the same time built up a bog business in painting scenery for theatrical companies and many of the theatres of the west have been equipped from this studio. It is said that the Reporter as well as the studio have outgrown their present quarters and that the managers of both enterprises are seeking the facilities that a larger city will offer them and at the same time keep in touch with the constituency in the west and northwest” (Marshalltown, Iowa, 18 Dec, 1907, page 2). It is unclear whether the move ever took place, but five years later, they were in the same location.

In 1912, the Jesse Cox Scenic Co. was located in Estherville, Iowa. The next year the studio was destroyed by fire. But that didn’t stop the Cox brothers and they rebuilt.

By 1916, the 1916 Jesse Cox Scenic Company catalogue notes, “For over sixteen years we have made a specialty of equipping theatres and road shows with high grade and artistic scenery.” This places the establishment of the company in 1900. Of their work, they catalogue states, “We furnish everything complete to equip your stage or show and everything in the line of special sets and practical, knock down set stuff.  We furnish proscenium fronts for small theaters for less money than your local contractor can build them and they give an added attractiveness to your stage that cannot be obtained otherwise. These proscenium fronts are built to fit your building from wall to wall and from stage floor to ceiling, so no fitting is required in installing them in your theatre. They are durable and add much to the beauty of your theatre. In this catalogue we make no attempts to show a full line f our designs, but we have on hand hundreds of designs and photos of different scenes and will be pleased to mail you designs of any particular scene r setting you may require, or if necessary will make you a sketch in colors to meet your individual requirements.”

The catalogue also noted that the Jesse Cox Scenic Co. was the “only studio in Iowa designed and built exclusively for scene painting,” adding, ”Our studio is thoroughly equipped for turning out high grade work promptly and our artists are all men with years of experience in scenic work.

At this time, scenic studios began popping up all across the country.  Not everyone delivered quality work, and this fact was addressed in the 1916 catalogue. Under the heading “Cheap Work,” the catalogue noted:

“IF YOU ARE A LIVE ONE you don’t use the cheapest film service for your picture show, you don’t book the cheapest vaudeville acts regardless of ability, you aim to get QUATITY [sic.] at a price you can afford to pay. CHEAP SCENERY will just as surely disgust your patrons as cheap films or vaudeville. We give you QUALITY ALWAYS at the lowest possible price consistent with work that we can ABSOLUTELY GUARANTEE to please you. GET THE BEST at a price you can AFFORD TO PAY.”  Earlier in the catalogue, the firm advertised, “OUR GUARANTEE – We guarantee you prompt and efficient service and ABSOLUTE SATISFACTION in both workmanship and materials or your money back.” 

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

Much has been written about Jesse Cox, the scenic artist purported to be the inventor of the Diamond Dye process for scenery. Cox’s obituary even credits the artist as the “originator of commercial dye painted scenery for theatrical productions.” His obituary details Cox’s process that involved mixing dye with warm water, making it “possible for scenery to be much lighter in weight and transported more conveniently.” I highly doubt that Cox was the first scenic artist to use commercial dyes on scenery, especially when looking at his birthdate and timeline. However, I do believe that he popularized the process, if only through sheer self-promotion.

There is also no question that the Diamond Dye manufacturers would have been thrilled to have Cox as a poster boy for their company, however there is no clear evidence that suggests Cox was the inventor of the process. Even the Jesse Cox Scenic Company’s early twentieth-century catalogue makes no mention of their specializing in dye scenery or Cox’s reputation as the inventor of this unique scene painting process.  I have to wonder when the Diamond Dye process of painting scenery became specifically associated with this artist, as the earliest mention that I have uncovered to date is 1936. To all indications, Cox’s story was shared at a time when he was reflecting on his own history, and contributions to the world of scenic art. I am reminded of the erroneous credit given to Lee Lash for his invention of the ad drop. Over time, facts blur and history is carefully shaped by those who gain the most from its telling.

Here is a little background about Cox that was included in his 1961 obituary:

Jesse Matthew Cox was born on March 3, 1878, in Seneca, Illinois, the son of Mr. and Mrs. Spencer Cox. One of five sons born to the couple. His eldest brother was James, and his younger brothers were George, Chauncy and Spencer Jr. The family moved to Estherville in 1891. At the time, Jesse was at the age of 13 years old. Initially, he worked for his father, but soon became interested within the next three years, going on the road as an actor at the age of 16.  He initially toured with the [Warren G.] Noble Dramatic Shows of Chariton.  As many young performers involved with touring productions at the time, Cox also performed as a musician and assisted in other technical duties. It was while on tour that Cox became interested in scene painting, likely out of the company’s necessity for additional settings. There is no indication that he became a scenic artist by going through any traditional training or apprenticeship program.

After touring, Cox worked as an itinerant artist in Chicago, Minneapolis and St. Paul, spending several seasons in the Twin Cities. It is reported that Cox returned to Estherville to settle down, painting “great quantities of scenery” there and shipping much of it to California and Texas. Local newspapers cite that his return to Estherville coincided with the decline of demand for road shows. In Estherville, Cox started a scene painting studio in the old Lough opera house, the same venue where he once worked as a prop boy before going on the road with Noble. Cox had little luck with studio locations throughout the duration of his career, as the first was destroyed by fire and the second razed by a tornado. Cox’s third studio was located at 606 N. 12^th St. There he worked with his son Robert, primarily making scenery for theaters and high schools, but also completed many sign painting projects. The firm’s business gradually expanded to include neon signs. His company continually diversified as the demand for painted scenery continued to decline. This was the case with most scenic studios that survived the Great Depression. In regard to neon signs produced by the studio, in 1942 the Estherville Daily News announced, “The Jesse Cox studio has been busy the past week building the first complete neon sign to be fabricated in Estherville” (22 Sept 1942, page 1). The sign was made for the Hossack Motor Company.

Cox’s scenic art and performance career was supplemented with entertainment news. He and his brother George established and edited the Opera House Reporter, an entertainment industry trade paper, from 1898 to 1907. In the greater scheme of things the establishment of the publication coincides with his development of the Diamond Dye process and touring on the road. The dates just don’t add up when compared to newspaper accounts. The Opera House Reporter included a variety of information, such as office reports from theaters and general theatre advertisements. The Cox brothers are also credited with running the first movie projector in the state of Iowa. They were quite an innovative and busy pair.

Of his personal life, Cox was twice married, first to Mabel Gerberick and second to Carrie Beaty in 1939.

Cox died at the age of 83, a longtime businessman and member of the Estherville City Council. His health was failing for some time, with his passing being attributed to the “complications of advanced age.” Cox was an active member with the Knights of Pythias and the Benevolent and Protective Order of Elks.  His assumed high offices in each fraternity, with achieving the Elk’s rank of Exalted Ruler.

Cox’s professional and personal memorabilia are on display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. Even his accordion is on display. The museum’s library includes an article written in 1990 by Michael Kramme for Palimpset, a publication advertised as Iowa’s popular history magazine (Winter issue). His article “Opera House Illusions: Jesse Cox and Theatrical Scenery” was included in Vol. 71, No. 4 (pages 154-172). Kramme credits Cox as “the inventor of a system of painting theatrical scenery that revolutionized the industry.” Unfortunately Kramme gives no specific technical information or dates to support this statement. Again, I question the legitimacy of Cox’s claim to fame as the inventor of the dye system of painting scenery.

The earliest mention that I encountered in my research describing Cox’s dye process is in an article from the Estherville Enterprise on 9 Sept. 1936 (page 2).  The article reports, “There is a very interesting story connected with the [Jesse Cox Scenic Studio]. Jesse Cox, the owner and operator, when a very young man was a trouper with Nobles’ Stock company for seven years. While following the road and assisting in handling massive curtains, Mr. Cox conceived the idea of painting scenery with diamond dyes. These could be folded and packed in a trunk and were much easier to carry. During the summer of 1899 Mr. Noble sent Mr. Cox to Estherville on pay and in the old low opera house, the young man designed and painted the first diamond dye scenery, now popular the world over. Later Mr. Cox closed with the Noble Company and started the business of scenery painting. He has shipped scenery to every state in the Union and from New York City to San Francisco can be found scenery labeled in the corner, The Jesse Cox Scenic Studio, Estherville, Iowa. The largest scene Mr. Cox ever panted was 24 x 150 feet for the Robinson Bro. Circus. Many of the largest traveling companies have used Mr. Cox’s scenery but the outstanding feature is the fact that he conceived the idea of diamond dye scenery which is now used extensively throughout the world.”

My research does not suggest that Diamond Dyes were that extensively used for scenery production in the United States at the time.

What I found interesting, however, is that the 1900 census lists Cox’s profession as “actor” and not “artist” or “scene painter,” as was the case with other scenic artists at the time. By 1900, he was editing the Opera House Reporter and supposedly running a scenic studio, as well as working in other cities throughout the Midwest.

In Kramme’s article he describes, “Cox developed and patented a process of painting scenery with heated dye rather than paint.” However, some of his scenery on display at the Theatre Museum is clearly painted with dry pigment and his paint table has pots of dry pigment too. In terms of a patent, there is a Jesse Cox that designed a hay knife. There are quite a few “Jesse Cox” individuals living at the same time in the United States. Kramme goes on to explain, “His technique remained a trade secret. But the result, vivid color that would not peel, crack, or rub off, was shared nation-wide as owners of opera houses and managers of acting companies bought lavish sets of scenery.” I am perplexed that his use of Diamond Dyes on cotton sheeting would require any trade secret. The preparation for dyes in scene painting is pretty consistent.  Furthermore, aniline dyes had been around for a while and were widely used in the theatre industry for variety of effects. By the 1860s chemical aniline dyes were readily available. The process for preparing dye to use in scenic art is not like dying yarn or clothing fabrics where different mordants baths shift final color results when fixing the dye.

I also have to point out an alternative to dye in theatrical scenery. When applied properly, and in thin coats, dry pigments result in vivid colors that will not peel, crack or rub off. The English practice of glazing scenery results in lightweight and foldable scenery. See past posts that distinguish between the two schools of scenic art that were established in the United States. When using thin coats of dry pigment, the fabric remains pliable. I known this first hand because the scenery that I transported to Europe this summer in my luggage was folded and crushed during transport without any harm to the painted composition or permanent wrinkles.  The only problem is when dry pigment is applied in thick coats or with strong size water. Thick coats of paint also make scenery heavy to transport.

Keep in mind that there are historic scenes well over a hundred years old whose colors remain stable and can easily be folded without irreparable damage. It all depends on the application coat and strength of the binder at time of manufacture and subsequent environmental conditions. The biggest threat for scenery painted with dry pigment and diluted hide glue remains water damage and high humidity, ultimately causing the breakdown of the binder and reactivating the paint. This causes as much damage as poor preparation of colors or size during the initial painting of each scene. Not every scenic artist or potboy thoroughly understood the preparation of paint or binder. In many instances, corners were cut, and the life expectancy of the scene was ephemeral at best. I always think of the Demotivator © poster defining the word mediocrity: “It takes a lot less time and most people won’t notice the difference until it’s too late.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. Now is a good opportunity to unwrap Jesse Cox’s purported contribution to theatre history and his scenic art process. 

In 1983, Mrs. Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, am happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor f a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s.  This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. The docent who led my private tour during their off season, was a wealth of information about tent shows, but really did not understand Cox’s artifacts or the scenic art painting process. The big talking point, however, was that Cox invented dye painting on scenery.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them.” Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.” That this dye product would not be considered for theatrical scenery during this same time is unrealistic.

So what makes a product indispensable, especially one that expresses such versatility? Availability.  In 1915, The Practical Druggist included the article reported, “Diamond Dyes are unquestionably staple goods for druggists” in the article “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book.’”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing.  Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.’”

Any enterprising scenic artist who discovered an affordable alternative to dry pigment, such as Diamond Dyes, would be an immediate benefit to both the company and himself. This new use accentuated the versatility of Wells, Richardson & Company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’ 

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses.  Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference. 

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows.  Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant.  Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the individual credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…

Every Thanksgiving I remember a particular Scottish Rite drop accessory that makes me chuckle.

Over the years, the Grand Forks Scottish Rite lost the original ship that accompanied the 1914 seascape. Some ingenious stage hand decided to press a Thanksgiving decoration into service for the degree production. Enjoy the day!

Copyright © 2019 by Wendy Waszut-Barrett

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. In light of yesterday’s post about dye drops, now is a good opportunity to unwrap Jesse Cox’s purported contribution and his scenic art process. 

In 1983, Mrs., Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, an happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor of a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s.  This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. They museum staff that gave me a tour of the museum during their off season, did not really Cox’s artifacts or the scenic art painting process.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them” (an I am sure they were before child labor laws). Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.”

So what makes a product indispensable? Availability.  In 1915, “The Practical Druggist” included the article, “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book,” noting “Diamond Dyes are unquestionably staple goods for druggists.”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing.  Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.”

One might immediately recognize that an enterprising scenic artist who decided to use this readily available material to make theatre scenery would be an immediate benefit to both the company and himself, becoming an example of the versatility of the company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’ 

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses.  Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference. 

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows.  Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant.  Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the one who was credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…