Julius Fehrman was listed as a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” reported that Fehrman donated 50 cents. Fehrman was a stage carpenter.
Juls Fährmann emigrated with his family from Prussia in 1867. At the time, Julius was only nine-months-old, the youngest of three children born to Carl and Marie Fährmann.
I was able to locate the Fährmann’s on a passenger list from Hamburg to New York that fall. The departed Hamburg on Oct. 5, 1867, arriving in New York Harbor on October 23. They sailed aboard the Borussia, a vessel in the Hamburg-Amerikanische Packetfahrt-Actien-Gesellschaft shipping line. Coserow, Preußen was listed as their home. Today, their home is known as Koserow, a municipality on Usedom Island, in the Vorpommern-Greifswald district, Mecklenburg-Vorpommern, Germany. For centuries, the economy of the Koserow village was based on fishing and agriculture.
Map showing where the Fährmann family lived before sailing to the United States in 1867.
The 1867 passenger list included the following Fährmann members:
Carl (35 yrs., butcher)
Marie (36 yrs.)
Ottilie (7 yrs.)
Bertha (4 yrs.) –
Juls (9 ½ months)
By 1880, the Fährmann family was living in Chicago, and had changed their surname to Fehrman, although over the actual spelling would constantly change in directory listings. Some of their first names became Americanized too. This may have happened upon their arrival at Ellis Island, or shortly thereafter, as many Eastern European Jewish immigrants used anglicized or truncated versions of their Jewish surnames.
The 1880 Census listed the following Fehrmann members:
Charles (45 yrs., works as butcher)
Marie (46 yrs.)
Ottilie (20 yrs., works in show factory)
Bertha (17 yrs., works at paper box co.)
Juls (13 years, at school)
Their household also included Frank Schertgeger, a 24-yrs.-old cousin who worked as a clerk in a dry goods store. Their address was 66 Cornell Street, and they would remain on Cornell for quite some time.
Sadly, the patriarch of the family, Charles Fehrmann, passed away on April 20, 1881. His death certificate listed that he was a 49 yrs. old butcher who was buried in Graceland Cemetery, Chicago. So many Sosman & Landis employees were buried here, including the two founders of the firm.
The Fährmann family continued to reside on the same street, Cornell. Directory listings show the wide variations of the Fährmann name over the years. Due to constant misspellings, it is almost impossible to trace individual members. I was only able to locate Carl’s widow by her address. Here are the listing’s for Julius’ mother Mary Fehrmann from 1882-1889:
1882 Chicago Directory: Fehrmann, Mary wid. Charles, house 62 Cornell
1885: Chicago Directory: Fharmann, Mary wid. Charles, house 62 Cornell
1887: Chicago Directory: Fahrmann Mary, wid.. Charles, h. 62 Cornell
1889 Chicago Directory: Feurman, Mary, wid. Charles h 62 Cornell
It remains unclear as to when or where Julius entered the theatre. The abovementioned 1885 newspaper article lists Julius Fehrmann as a Sosman & Landis employee. He would have been 18 yrs. old at the time, likely living with his widowed mother and financially contributing to the household. I have yet to locate any other listing for a “Julius Fehrmann” in the region.
Interestingly, I discovered two newspaper articles from 1892 that listed Julius Fehrman as part of a touring production. That year he was associated with Alexander Salvini.
Like Fehrman, Salvini Americanized his first name, changing it from Alessandro to Alexander. Born in Rome to the famous tragedian, Thomas Salvini, Alexander Salvini’s American debut was in 1882. After a visit to Italy in 1890, Salvini returned to the US to tour with an impressive wardrobe form his father’s extensive costume collection, and began a tour. Julius Fehrman toured with Salvini in 1892 and 1893.
On August 28, 1892, the Buffalo Courier reported, “Alexander Salvini’s Company this season includes William Redmund, John T. Burke, William Ranous, Ben. Johnson, Edmond Day, Paul Cazeneve, J. B. Murphree, George Clare, Julius Fehrman, Max Mazzanovick, Edwin Lewis, Antonio Rusini, Judith Berolde, Augusta DeForrest, Maude Dixon, Grace Webster, with Alfred Bradley, agent George W. Magee, treasurer, and W. M. Wilkinson, Manager” (page 10).
Julius Fehrman listed as the Judge in Salvini’s production of “Don Cæsar de Bazan”, 1892.
I need to put this brief mention in technical theatrical context.
Fehrman’s name was listed just before Max Mazzanovick. This is well-known theatre technician Maximillian Mazzanovich (1870-1950). It was Mazzanovich who helped me later place Fehrman in New York, working as a stage carpenter again in 1900. The inclusion of Mazzanovich’s name also made me wonder if they were the technical crew for the production. This was actually Maximillian Mazzanovich (1870-1950), the son of Lorenzo Mazzanovich and brother of John C. Mazzanovich (scenic artist, 1856-1886) and Lawrence Mazzanovich (landscape painter, 1871-1959). In the 19th century, it was common for members from the technical staff to fill in on stage, performing smaller roles in productions necessitating a large cast. It made financial sense, at it reduced the need to hire local actors. Before joining Salvini, Max was connected with the A. M. Palmer Stock company, of which Maurice Barrymore (Lionel’s father) was a member. Mazzanovich remained with Salvini’s troop until 1895. After Salvini, Mazzanovich became the technical man for Klaw & Erlanger, and was associated the famous Drury Lane plays that included ‘Silver Slipper,’ ‘Mother Goose,’ and ‘Jack and the Beanstalk.’ On an interesting side note, Max was a stagehand with the Bluebeard Co. when the Iroquois fire occurred in 1903. Purportedly, Max was outside smoking when the fire broke out, and therefore did not see the flames until the conflagration was well underway. He was among those arrested and held on bail. Max later went on to serve as George M. Cohan’s technical director for 32 uninterrupted years, retiring in 1938. His first show with Cohan was ‘Forty-five Minutes from Broadway’ (c. 1906) In census reports, he listed his trade master mechanic in the Theatre industry (1920) and Directory in the Theatre Industry (1930).
The second 1892 article also concerned Salvini’s tour, again listing both Fehrman and Mazzanovich. On Dec 14, 1892, The Seattle Post-Intelligencer reported that Julius Fehrman played the role of the judge in Salvini’s “Don Caesar de Bazan” at the Seattle Theatre (page 5). Other members of the cast included William Redmund, William Ranous, George Clare, William Marston, Charles Richards, Edmund Day, Max Mazzanovich, J. B. Murphree , Edward Lewis, Judith Berolde, Augusta De Forrest, and Maud Dixon.”
Fehrman was still with Mazzanovich and Salvini in 1893. On March 7, 1893, the Philadelphia Inquirer listed Julius Fehrman in the role of Pacola and Max Mazzanovich in the role of Perez in “Don Cæsar de Bazan” at the Walnut Street Theatre (page 7). Salvini’s Company also toured with “The Three Guardsman.”
Julius Fehrman listed as Pacola in Salvini’s production of “Don Cæsar de Bazan”, 1893.
It was Mazzanovich who helped me later place Fehrman in New York, working as a stage carpenter again in 1900. That year. The US Federal Census listed Jules Fehrman working as a stage carpenter and living at 225 Bowery Street in Manhattan, New York. That year, Mazzanovich was also living in Manhattan, with his wife of five years, Marie. Mazzanovich was listed as a “property man” living in Manhattan.
The last mention in that I have discovered for Fahrman was from 1908. On March 24, The Standard Union reported, “LEG BROKEN BY FALL AT RUNAWAY GATE. Frightened by a passing automobile on the bride to-day, two horses attaches to a truck of the Curtain Transfer Company, at 266 Bowery, Manhattan, bolted and broke away from control of their driver. The driver, James Judge, of 3 North Third street, jumped from the wagon, but his helper, Jules Fehrman, 41 years old, of 243 Bowery, Manhattan, remained clinging to his seat. The signal was given and the runaway gate at the Brooklyn terminal was closed. In spite of this, however, the horses continued their headlong flight and smashed into the gate with full force. Fehrman was thrown over the runaway gate and his leg was broken. He was removed to the Williamsburg Hospital by Dr. Baum. One of the horses was also fatally injured” (page 2).
Fehrman died four days later.
His death certificate, dated March 28, 1908, cited “fracture of left leg and chronic alcoholism” as his cause of death at Williamsburg Hospital. He was buried on April 1, 1908, at Linden Hill.
1909 Map showing the location of Linden Hill Cemetery and the Cemetery of Ahawath Chesed.
The death record does no specify whether it was Linden Hill Methodist Cemetery or the adjacent Cemetery of Ahawath Chesed. Linden Hill is located, near the intersection of Flushing and Metropolitan Avenues in Ridgewood, Queens, New York. Although Methodist, Linden Hill Cemetery has always been nonsectarian, with graves of individuals from multi-ethnic backgrounds. Linden Hill Jewish Cemetery occupies ten-acres on the northwest side of the Methodist Cemetery. In 1875, Ahawath Chesed, a prosperous German Jewish congregation located in midtown Manhattan acquired the tract of land on Linden Hill. Ahawath Chesed is now known as Central Synagogue. David Belasco is buried at the Cemetery of Ahawath Chesed.
B. P. Lee was listed as a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” reported that Lee donated 50 cents.
Benjamin “Ben” P. Lee (b. 1856) was the son of Benjamin J. Lea (1830-1902). Both were both in Calne, Wiltfordshire, England. Fun Fact: Calne was the home of Samuel Taylor Coleridge!
In many ways, I know more about Lee’s parents, grandparents, wife, and son, than Lee himself . The side stories were quite compelling, and I ventured down a few stray paths. I am going to start with B. P. Lee’s father, Benjamin J. Lea. Lea lost his father, Thomas Stretch Lea, when he was only 2 yrs. old. Lea was raised by his mother, Ann Rutherford, who worked as a local dressmaker. Leas’s grandparents also lived in Calne. His grandfather, John Lea, worked as the local tailor. I have tracked down Leas’ birth, christening, and listing in the 1841, 1851, and 1861 England census reports. He became went into the trade of masonry and married Frances Sarah Pring on Jan. 1, 1853, at St. Mary’s in Portsea, Hampshire, England. The two settled in Lea’s hometown of Calne and began to raise a family. Benjamin Lea, Jr. was their second born; this is the same Ben Lee who worked as a stage carpenter at Sosman & Landis in 1885.
In 1870, the Lea family left Calne and headed to the United States. The arrived in New York Harbor on May 17, 1870. They sailed aboard the H.M.S. City of London, an Inman Shipping Line vessel. Passenger lists include the following members for the Lea family:
Ben Lea, 40 yrs., mason
Fran Lea, 39 yrs., wife
Henry Lea, 16 yrs., teacher
Ben Lea, 14 yrs., teacher
Jno Lea, 11yrs.
Francis Lea, 9 yrs.
David Lea, 7 yrs.
Thomas Lea, 5 yrs.
Ebenezer Lea, 3 yrs.
William Lea, 1 yr.
After their arrival, the Leas settled in Chicago, where they were counted in the 1870 US Federal Census. At the time, they were living in the 14th Ward of the City, where Lea Sr. had secured work as a plasterer. The Lea household included: Benjamin Lea, Frances Lee, Henry, Benjamin, John, Fanny, David, Thomas, Ebenezer, William Lee, and boarder William Goff. Goff was 26 yrs. old and employed as a painter. The Lea family eventually relocated to Elgin, Illinois, where they were counted in the census in the US Federal in1880. Benjamin Lea Sr. continued to work as a mason as his children grew up and left the home. Many Lea family members were buried in Elgin, Illinois. For geographical context, Elgin is located on the Fox River, about 30 miles west of Chicago.
Sometime between Benjamin Leas Jr.’s arrival in 1870 and his marriage in 1883 he changes the spelling of his last name to Lee and begins going by B. P. Lee…and this is where his whole story goes through a series of twists and turns over the course of a few decades.
Ben Lee married Bandenah Hinkle Ellington (1849-1918) on Jan. 21, 1883. This date coincides with the birth of their first child Harry Chester Lee (1883-1940), who follows in his father’s footsteps as a stage carpenter.
The circumstances surrounding Bandenah’s first marriage, and the birth of Harry C. Lee, are very odd. They also bring the whole Lee tale to the area surrounding Peoria, Illinois, and the small township of Glasford. Keep in mind that Peoria is just downstream of Chicago by way of the Illinois River.
Bandenah Hinkle was the daughter of Nebat Hinkle. These two unique names made their story somewhat easy to trace and confirm the marriage of Hinkle to Lee. When Bandenah’s father passed away in 1904, his obituary mentioned his daughter, Mrs. B. P. Lee. On Feb. 26, 1904, the Glasford Gazette reported:
“In 1826 Daniel J. Hinkle, wife and five children, John, Obediah, Daniel, Jr., Elizabeth, and Polly came from Ohio and settled for a short time in Peoria. Here the sixth child, Nebat, was born Oct. 26, 1826. In the following spring they moved to Timber Township and settled on the N.W. ¼ of Section 21. This was the first family in the Township, and here, with no neighbors for miles around, amid deer, wolves, turkey and other wild game of the forest, the subject of our sketch spent his boyhood days. The father was a large, muscular man, 6 feet tall, and a great hunter. Brought up with such surroundings, it was but natural that Mr. Hinkle should acquire a love for the country, and a few years ago when he was visiting his daughter, Mrs. B. P. Lee, who then lived in Chicago, the writer spent several days with the family there. Mr. Hinkle remarked that he had heard so much noise of the great city, the elevated road running past the house, that he was homesick to get back to Glasford, and while he could not work much, he could tinker around on the farm and be happy. In 1848 he was married to Miss Margaret Shreffler, to which union two daughters were born, Mrs. B. P. Lee, and Mary, who died in infancy. In 1853 he was again married to Miss Matilda Shade. To this union eleven children were born. Six are dead and five are living as follows: Mrs. Hanna Floglore, of Pontiac; Alfred Hinkle and Mrs. M. B. Wilson, of Chicago; B. B. Hinkle, of Canton; and Mrs. Margaret Scovil, of Peoria. His son, B. B. Hinkle, and wife, lived on the home place for a number of years and kept house for his father. When Butler moved off the farm, his daughter, Mrs. B. P. Lee, and son Harry, took the farm and cared for Mr. Hinkle the remaining days of his life. He has been in failing health for some time, but we had hoped with the return of spring he would be able to come to town, as he seemed to enjoy coming in and talking to Col. Fahnestock of old times. A short time ago dropsy set in, and he continued to grow worse until the end came, Sunday, Feb. 21, 1904, about 1 o’clock a.m., aged 77 years, 3 months, and 26 days. All his children were present at the funeral, which was held at the residence, Tuesday, conducted by Rev. W. L. Jones of Chicago, who is here holding meetings at the Baptist Church, assisted by Rev. Oldham, the pastor. Singing was furnished by E. L. Fahnestock, A.C. Maple, Kate Wolgamott and May Maple of Glasford. Mr. Hinkle was one of the early members of Lancaster Lodge, No.106, A. F. & A. M., which conducted the funeral services at the grave, past Grand Master G. M. Saylor officiating. Mr. Hinkle leaves beside the children mentioned, one half-sister, Mrs. Katie Jane Sanders, and a host of friends to mourn his loss. The body was laid to rest in the Hinkle Cemetery, near Lancaster.”
Mrs. B. P. Lee was Bandenah Hinkle Ellington Lee (1849-1918). I tracked down Bandenah and her two husbands (Benjamin Lee and Joshua Ellington) to Peoria, Illinois in the 1870s. Benjamin Lee worked as a photographer and bookbinder. Joshua Ellington worked a cooper. Bandenah was a dressmaker, living and working with Lizzie F. Hinman. All three lived in close proximity, so it would be unrealistic to think that in the days of walking to work, they didn’t cross paths, especially if they were living on the same street.
On May 4, 1875, Bandenah Hinkle married Joshua Ellington. The next year, Joshua Ellington is listed in the 1876 Peoria City Directory as living at 318 N. Washington. By 1879, Mrs. Bandenah Hinkle is living at 320 N. Washington and Mrs. Jenny Hinkle is living at 318 N. Washington. ….and then everything changes and only Mrs. Jenny Hinkle is left in town, listed in the 1880 Peoria Directory as living at 410 1st. It is all so very odd.
Whatever happened in Peoria prompted a quick departure. On Jan. 21, 1883, Harry C. Lee is born in Chicago. Again, this is the same day that his mother Bandenah marries B. P. Lee.
Interestingly, in 1884, B. P. Lee was involved with the romantic drama “Se of Ice; or A Thirst for Gold” at the Chicago Museum. B. P. Lee was listed as the “Spanish Secretary” character in the third, for a fifth tableaux.
In 1885, Benjamin P. Lee is listed in the Chicago Director as a carpenter, living at 297 W. Randolph. This is the same year that he is listed as a Sosman & Landis employee in the Chicago Tribune. He is again listed as a carpenter in the 1887 Chicago Directory, now living at 24. N. Carpenter.
Just about the time I was ready to give up on locating anything about Lee’s work as a stage carpenter, I found him working on an opera house in Arkansas City, Kansas. On Oct. 7, 1888, the Arkansas City Daily Traveler reported, “Yesterday a reporter interviewed B. P. Lee, stage fitter for the new opera house and he said: ‘This opera house is the finest I have seen in this season, and it would do credit to a larger city.’ He also stated that Moses & Louderback, the scene painters, had fitted up several nice opera houses this season and although they had fitted up several larger houses yet for good arrangement, etc., our house never approached perfection than any of the others. Mr. Lee will be here about six weeks at it will take him that long to set the scenery” (page 6).
On Oct. 11, 1888, the Weekly Republican-Traveler of Arkansas City reported, “Yesterday a reporter interviewed B. P. Lee, stage fitter for the new opera house and he said: ‘This opera house is the finest I have seen in this season, and it would do credit to a larger city.’ He also stated that Moses & Louderback, the scene painters, had fitted up several nice opera houses this season and although they had fitted up several larger houses yet for good arrangement, etc., our house never approached perfection than any of the others. Mr. Lee will be here about six weeks at it will take him that long to set the scenery” (page 3).
On Oct. 25, the Canal City Dispatch of Arkansas City reported, “J. D. Louderback, of the Chicago scene painting studio, came to town today. His house is furnishing the scenery which B. P. Lee is putting in the new opera house” (page 7).
These three short articles connect Lee with Moses & Louderback, previously known as Burridge, Moses & Louderback. Thomas G. Moses, Sosman & Landis’s, one of the firm’s earliest employees. In 1887, Moses left the employ of Sosman & Landis to partner with Walter Burridge and J. C. Louderback. The firm failed after a series of disputes between Burridge and Louderback, causing Burridge to return to his position at the Chicago Opera House. Moses & Louderback continued the business, but it never regained its initial momentum. By the spring of 1888, Moses returned to Sosman & Landis. For more information about Burridge, Moses & Louderback, see past post https://drypigment.net/2017/06/30/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-132/ .
It was Perry Landis who convinced Moses to return to the firm that spring. They accidentally met in Altoona, Pennsylvania, each going after the same project at the Mountain City Theatre. Of the encounter, Moses wrote, “Mr. Landis also showed up after the same job. After our meeting, we went to the hotel and sat up long after midnight, talking over business. Sosman and Landis wanted me to come back with them, and I agreed to do so as soon as I could finish my work. I was to receive my old salary of $50.00 per week, and a chance to do contract work, which would increase my salary to $4000.00 per year.” Because of this deal, Sosman & Landis won the contract, as Mr. Plack want Moses to paint the scenery for his Mountain City Theater.
However, the Arkansas City Opera House was already in the pipeline. Moses & Louderback had to finish the work of installing the scenery. This is where Lee comes into the picture. None of the above-mentioned articles suggest that Lee is representing the firm of Moses & Louderback. I think that Lee was still working for Sosman & Landis and sent to complete the install that fall. This is why Louderback to inspect the work, as mentioned in the Canal City Dispatch on Oct. 25. Louderback was a business manager who ran an auction house with fine art galleries. He was not a scenic artist of individual familiar with intricate stage mechanisms. However, he likely went because Moses was overwhelmed with work. In June 1888 Sosman & Landis sent him to complete two California contracts at the Grand Opera House and Los Angeles Theatre. Jack Taylor was one of scenic artist assistants assigned to Moses upon his return to the studio in 1888 (see Employee No. 70 https://drypigment.net/2022/01/06/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-70-jack-taylor/).
Moses would have also worked with a team of installers, that may have included B. P. Lee.
Benjamin P. Lee was listed as a stage building in the 1890 Chicago Directory, living at 45 Carpenter; this is same address from his 1887 listing. In 1890, however, Mrs. Benjamin P. Lee is working as a dressmaker, the same work that Bandenah was listed for in Peoria Directories in the 1870s.
On Dec. 24, 1890, Mr. and Mrs. B. P. Lee, were listed in an article entitled “A Great Ghost Dance” (page 6). A “ghost dance” event was held by the Logan Tribe of Red Men (a white fraternity) at the West Chicago Club. It was basically a social gathering with dinner and entertainment. In the section, “Prominent among those who were responsible for the affair,” Mr. and Mrs. B. P. Lee were listed alongside a few dozen others.
The Lees remained at 45 Carpenter until 1891 when they temporarily disappear from my radar until the turn of the century.
In 1900, Benjamin P. Lee was living with his wife Bandenah at 594 Lake St. Other members of the household include a cousin-in-law who works as a compositor, Frank Meyer (19 yrs. old) and a 23 yrs.-old boarder named Lizzie Mear. Meanwhile in Glasden, Bandenah’s half-brother, Butler B. Hinkle and his wife are caring for Nebat Hinkle; a job that Bandenah and her son Harry will soon assume.
This is where B. P. Lee really fades away from his family, and the story continues through articles about his wife and son. Bandenah returns to Glasden to care for his father until his passing in 1904. As noted in Nesbet’s obituary: “When Butler moved off the farm, his daughter, Mrs. B. P. Lee, and son Harry, took the farm and cared for Mr. Hinkle the remaining days of his life.” Nebat passed away on Feb. 21, 1904. Bandenah does not return to Chicago but stays in the area where she was born. The 1910 census lists her as living in Timber Township, Peoria County, Illinois. Timber is due south of Glasden.
Before returning to Chicago, Harry C. Lee marries Sylvia C. Smith in Peoria on March 16, 1904. The two celebrate the birth of a daughter, Clara B. Lee, on Feb.1. 1905 in Canton, Illinois.
The 1910 US Federal Census listed Harry as a lodger at 1840 Wabash. At 27 yrs. old, Harry lists his employment as “Stage Hand” in the “Theatrical” industry. By the time, Clara is of school age, both she and her mother have moved to Chicago and are living with Harry.
Harry Lee’s WWI Draft Registration Card listed their address as 326 E 25th Street, in Chicago. His is working as a stage carpenter for the Columbia Amusement Co., located in the Columbia Theatre on North Clark St. I was excited to read his physical description, as I had no idea what any of the Lee family looked like until now. Harry Lee was described as medium height, medium build, dark brown hair, and blue eyes.
The same year that Harry registered for the draft, Bandenah passed away. Her obituary was the only indication that B. P. Lee was still alive. On Jan. 3, 1918, The Pantagraph, of Bloomington, Illinois announced, “Mrs. Lee Dies. Mrs. Bandenah Lee, aged sixty-nine, died yesterday in Glasford, Ill. Fourteen miles southwest of Pekin. She had been an invalid for seventeen years. Surviving her are the husband, Ben P. Lee and one son, Harry C. Lee, Chicago. The funeral will be conducted from the Methodist church in Glasford, Thursday afternoon at 1 o’clock” (page 2).
Reading, “she had been an invalid for seventeen years” really surprised me, as she returned to care for her father Nebat in his last years, sometime between 1901 and his passing in Feb. 1904. She had returned to Glasden with Harry. Harry would have been somewhere between 18 – 20 years old at the time of their return to Nebat’s farm. Harry was apparently there long enough to meet, court, and marry Sylvia in nearby Peoria too. There was no mention of Bandenah returning to Glasden with BOTH her son and husband. My assumption was that Harry was still working, or traveling, as a stage carpenter, and sending money home. Lee was estranged from his wife and son; it would be unlikely he would be mentioned in her obituary.
Bandenah died on Jan. 1, 1918, in Glasford. She was buried in the family plot, now known as Hinkle Cemetery. Fortunately, Janine Crandell documented the Hinkle Cemetery graves a decade ago and uploaded the images to www.findagrave.com. Without her documentation, I would have never located Bandenah’s grave, or the location of the Hinkle family farm. Thank you, Janine, for uploading your pictures to findagrave.com!
Gravestones of Bandenah and her mother at Hinkle cemetery. Photographs by Janine Crandell, 2013.
The Hinkle Cemetery in relation to Glasden. Google maps screen shot, 2023.
Hinkle Cemetery in relation to Peoria, Illinois. Google maps screen shot, 2023.
It is possible that B. P. Lee never left Chicago and worked for Sosman & Landis until the close of the firm’s first iteration in 1923. It would not be impossible, as unless his social activities made headlines, his working as a carpenter in the main scenic studio would go without any public record.
There was one mention of a B. P. Lee that caught my eye from 1921. On June 30, 1921, The Rock Island Argus included Lee’s name an article about the Chautauqua Club in Roseville, Illinois. The article listed B. P. Lee as one of the groups directors, elected as a meeting on June 30.
This is the last possible clue of Lee’s whereabouts and possible passing: The California Death Index includes Ben Lee with the following information attached to the file:
Ben Lee
Birth year: abt. 1856.
Death Date: 4 Dec 1936.
Age at Death: 80
Death Place: Los Angeles
It would make sense that Lee headed west after the passing of his wife. So many Sosman & Landis employees sought employment in the film industry after the first iteration of the studio closed. Lee would have had colleagues with connections in Los Angeles. If I locate any more information about B. P. Lee, I will update this post.
C. M. Crouse was listed as a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune listed Crouse’s donation as $1.
In 1885, 48-yrs.-old Cyrus M. Crouse and his brother, 53 -yrs. old William F. Crouse, were well-known and well-respected stage carpenters. Both had been working as carpenters and master mechanics since the late-1850s, with decades of experience behind them as experts in stage machinery.
Their parents were John Crouse and Catharine Ziegler. Cyrus and William were two of nine children born to the couple; with only six children surviving infancy.
In 1850, the Crouse family home was in East Brandywine, Chester County, Pennsylvania. This is about 40 miles west of Philadelphia. Census reports that year listed the following individuals are part of the Crouse household: John (45 yrs.), Catharine Crouse (42 yrs.), William (18 yrs.) Amos (15 yrs.), Cyrus (13 yrs.), Mathilda (9 yrs.), Emma (7 yrs.), Charles (5 yrs.), Mary Ann Yoder (17). and Benjamin Harris (48). I am uncertain as to whether Yoder and Harris were extended family members or boarders.
The Crouse family moved to Carroll County, Illinois, in 1856. At the time Cyrus was 19 yrs. old. For geographical context, Mount Carroll is about ten miles east of the Mississippi River (a two-an-a-half hour drive from Chicago). This was part of a larger relocation plan for not only John Crouse, but also his older Daniel Crouse. Both are included in the History of Carroll County, Illinois (1878, page 405). Here are their listing in the section entitled “Portraits of Early Settler and Prominent Men” –
CROUSE, JOHN, Farmer; Sec. 27; P.O. Mt. Carroll; born in Chester Co, Pa., Nov. 24, 1805; was a tanner by trade’ kept hotel and public house 24 years; lived in Philadelphia and 50 years in the State of Pa; came to Carroll Co. in 1856, engaged in farming; owns a farm of 55 acres; married Catherine Ziegler, from Lancaster Co. Pa., in Feb 1828; they have six children: Amos L., William, Cyrus, Charles J., Mathilda G., and Emma; they have lost three children.
CROUSE, DANIEL,Farmer; Sec. 17; P. O. Savanna; born in Chester Co., Pa., July 17, 1803; lived in that state 53 years; was tanner and currier by trade for 20 years; came to Carroll Co., in 1856, and is engaged in farming and stock raising; owns 636 acres of land; has held the office of School Director; married Mary Maurer, from Chester Co., Pa., in March, 1830; they have eight children: Elizabeth, Henry M., Davis F., Jacob H., Hanna M., John, Daniel W., and Mary A.
Daniel Crouse’s land in Carroll County, Illinois, 1869. Daniel was Cyrus’ uncle.
It is important to understand that John and Daniel were “orphaned” in 1819 when their father passed away. Their legal status as “orphan” did not indicate that they had lost BOTH of their parents. The family had to go through orphan court to identify a new male guardian, or guardians, as their mother could not legally fill that role. This was an eye-opening moment for me, as I was reminded that women were not legally allowed to handle any financial or family matters, especially after the loss of a spouse if a large estate was involved. In 1819, the Chester County Orphan Court appointed three guardians to manage the estate and care for the Crouse children. There was one guardian appointed for all the boys, and two separate guardians for the girls.
Lets put this in historical context. The age at which a minor could request naming their own guardian was 14 yrs. old. Keep in mind that the age of consent was much younger than that for all of the nineteenth century. In 1880, 37 states set the age of consent at 10 years old, with only 12 states setting the age of consent at 12 years old. In some states this actually signified progress as in 1871 Delaware lowered the age of consent to 7 yrs. old.
The Crouse brothers’ move west in 1856 must have been a breath of fresh air, especially since John and Daniel had worked in a tannery for decades. The 1860 US Federal census listed the following John Crouse household members in Carroll County, Illinois, including: John (54, farmer), Catharine (51) Amos (25, blacksmith), Mathilda (20, dressmaker), Emma (17, milliner), Charles (16), and Eugene Cogley. Eugene was an infant, only 4 years old. The census listed that he had been born in Illinois, but I am unable to unable to determine if he was related, or an adopted orphan. Interestingly, John and Catherine Crouse would take in another child during the 1860s. The 1870 census listed that they were caring for their 8-yrs.-old nephew, Charles Crouse; not to be confused with their son Charles who was born in 1845.
Mount Carroll offered many possibilities for the Crouse family, especially for their two eldest sons. By 1860, both Cyrus and William had moved south and were living in St. Louis, Missouri.
By 1860, William had already married and celebrated the birth of two children. He and Cyrus were listed as carpenters in the US Federal Census. That year, the extended Crouse household in St. Louis included Cyrus, William F., William’s wife Charlotte, and Williams’ children Mary C. and William P. Crouse. At some point during the early to mid-1860s, Cyrus and William relocated to Chicago. Their move may have been prompted by the onset of the Civil War or employment opportunities.
Only a few years after moving to Chicago, Williams wife and children died. His son, William, was the first to die on April 11, 1864. His daughter, Mary C., died the next day on April 12. His wife followed less than a week later. Charlotte A. Crouse died on April 18, 1864. The Cook County Death Index listed the dates as April 12, 13, and 19. The close proximity of the dates, suggests illness swept through the family. All three were buried at Graceland Cemetery (Section G. Lot 951, graves 1, 2, and 3). The fourth grave in the same family plot is occupied by Henry P. Crouse, who died on Sept. 11, 1964. It is possibly that he was the third child of William and Charlotte.
Other family members include Blaney J. Crouse, occupying the fifth grave; he passed away on July 17, 1875.
William F. Crouse eventually joined his family and was laid to rest in grave 8 after his passing on Oct. 7, 1906.
The first mention that I have located of Cyrus in Chicago is from the fall of 1864. On Nov. 28, 1864, Cyrus M. Crouse was listed in the Chicago Tribune in the unclaimed letter section (page 3). It remains unclear as to exactly when Cyrus settled in Chicago and began working as a stage carpenter. He may also have been on the road, outfitting theaters throughout the region staying with his brother whenever he passed through town.
William, however, continued to live and work in Chicago. On Oct. 11, 1866, William F. Crouse and Catherine “Kittie” Doulin. The couple was listed in the Marriage section of the Chicago Tribune. A few years later they celebrated the birth of twin boys, William C. and Howard. A third son, Frank, arrived in 1870. All the while, William continued to work as a stage carpenter, becoming extremely well-known and well-respected by the theatre community for his knowledge of stage machinery.
C. M. Crouse followed his brother’s lead in the windy city and soon garnered a reputation as a master stage carpenter and mechanic. The second mention that I have located about Cyrsu in Chicago newspapers is from 1865. He was mentioned in a newspaper article, following year after fire broke out at a business block in Chicago. On Dec. 15, 1865, the Chicago Tribune mentioned that C. M. Crouse occupied room No. 18 fourth floor and sustained $50 worth of damage from the fire (page 4). Then he disappears from print again until 1869.
Both Cyrus and his brother were listed in the 1869 Chicago Directory:
Crouse, William F., stage carpenter, r. 147 Townsend
Crouse, Cyrus, carpenter, r. 112 Chicago ave.
Cyrus may have married around this time too. By 1870, Cyrus was living in the 20th Ward of Chicago. The US Federal Census that year listed Cyrus (34, stage carpenter) living with Hattie Crouse (27, keeps house). Although it appear he was married, I have yet to locate any records that confirm their relationship. Therefore, I cannot be certain that she was actually his wife. Hattie Crouse also seems to disappear shortly after the census was taken in 1870. Interestingly, Cyrus and Hattie Crouse were also living with another family in 1870 – the Wilkinsons. The Wilkinson family included Tom (33, Traveling Agent), Agnes (28, keeps house), Thomas (8, at school) and Harry (6).
It was around this same time that Cyrus became associated with Aiken’s Museum. Sometime between 1870 and 1873, Cyrus M. Crouse, stage carpenter, became known as C. M. Crouse, master mechanic.
Aikens Museum. From Chicagology.
Previously known as Wood’s Museum, after the infamous Col. Wood, the entertainment venue was managed by Frank E. Aiken from approximately 1867-1871. The museum featured natural history objects, paintings, panoramas, and performances in a lecture hall. The hall was actually a full-functional theatre; both Wood and Aiken had recognized the popularity of stage performances. Here is a link to learn more about the history of the venue: https://chicagology.com/prefire/prefire057/
On April 14, 1870, the Chicago Tribune published an advertisement for and event at Aiken’s Museum, announcing, “Friday evening. Benefit of C. M. Crouse” (page 4). Located at the rear of the museum, the performance hall was home to a stock theatre company, where Crouse was likely employed.
On Feb 22, 1871, the Chicago Tribune linked Crouse to Aiken’s Museum again:
“COMPLIMENTARY BENEFIT.
The following correspondence explains itself; Mr. Frank E. Aiken:
DEAR SIR: We, the undersigned, the Chicago Press, the members of your company, friends, and admirers, appreciating your merits, not only as manager and an artist, but a gentleman, would kindly ask you to accept a complimentary benefit, to take place on. Wednesday afternoon and evening, March 1. Wishing you every success in the future. We remain yours Truly.”
The letter was signed by sixty-seven people, including C. M. Crouse, Charles Crouse, and Charles’ roomate Fred Bowman.
Aiken’s reply was also published:
“To the Chicago Press, the Public, and my Brother and Sister Artists: I wish to tender my sincere thanks to the ladies and gentlemen whose names are signed to the above communications, this day received by me. I accept the proposed testimonial, not because I think I deserve it, or have any claim upon you, but as a mark of affection, which I shall ever cherish from my Chicago friends and the members of my company. With the hope that our intercourse may be as pleasant in the future as it has been in the past, I subscribe myself your obedient servant – Frank E. Aiken.”
Crouse was still associated with Fred Aiken in 1873, now at his new theatre. On June 15, 1873, the Chicago Tribune advertised “Enormous Attractions for the Summer Season!” with “magnificent new scenery by Halley and Smith, Mechanical novelties by our master mechanic C. M. Crouse, and assistants” (page 16).
C. M. Crouse is listed as the master mechanic at Aiken’s Theatre in 1873.
The timing of this is important to note with the context of Sosman & Landis. 1873 is two years before they meet and six years before Sosman & Landis establish a studio in Chicago. This means that when Crouse joins the staff at Sosman & Landis, he is a well-known quantity and an asset to the firm.
On July 19, 1873, The Chicago Evening Mail announced:
“Aitken’s Theater. A grand complimentary benefit for W. H. Harrison, Charles Crouse, Fred Bowman, and Cyrus Crouse, attaches of Aitken’s Theatre, is announced for next Monday evening. John R. Allen and wife, Harvey Pratt, Fred Woodhull, John Marble, Jennie Morgan, and a host of others, have volunteered for the occasion. The bill will consist of a light comedy and farce programme, with Billy Rice in a stump speech and Harry Hart in a recitation of ‘Shamus O’Brien.’ Ben Owens acts as conductor. The attendance will undoubtedly be large.”
On July 20, 1873, The Chicago Tribune reported, “On Monday night a complimentary benefit will be tendered the following-named gentlemen, attached of Aitken’s Theatre: W. H. Harrison, Treasurer, Charles Crouse, Fred Bowman, and Cyrus Crouse, upon which occasion J. R. Allen, Harry Pratt, Fred Woodhull, W. H. Otis, Mrs. J. R. Allen, Miss M. Vickers, Miss Kate Morriss, the Misses Grace and Ada Perkluc, and many others have volunteered to play. Besides, there will be the great Billy Rice and Harry Hart. The bill comprises a great variety of entertainment, and will, without doubt, net for the beneficiaries a very acceptable sun” (page 4).
Throughout the 1870s, Crouse’s reputation continued to grow. He worked at a variety of theaters throughout the region, venturing west to Iowa with several Chicago colleagues. On Nov. 27, 1881, the Burlington Hawk Eye of Burlington, Iowa, reported, “Cyrus M. Crouse, of the Academy of Music, Chicago, is in our city. Mr. Crouse has been for some years connected with that institution as stage carpenter and has earned a reputation for worksmanship unexcelled by any member of his craft” (page 4). By now, Crouse is 55 years old and well-versed in stage machinery. It would have been foolish if Sosman & Landis had not actively gone after Crouse to get home on their staff. We do know that by 1885, Crouse was working for Sosman & Landis. He may have been working part-time at the firm since 1879 when they leased their first shop space in Chicago.
On Jan. 7, 1882, the Chicago Tribune published an extensive article about the Burlington Opera House project, mentioning The building, which has a completeness of construction seldom reached by contractors, deserves a special notice, particularly as the contractors are all well-known Chicago men who make this class of building a specialty. The architect Col. S. V. Shipman, and the woodwork, which in construction of this kind is by far the most important item, was under the immediate charge of Mr. M. B. Bushnell, who in connection with the building of the Academy of Music and Haverly’s Theatre of Chicago, is already widely known…Further inquiry reveals the fact that the stage – a work usually set aside as calling for a special construction – was also built by Mr. Bushnell, and has all the necessary traps and other accessories necessary to a complete theatre. In every particular throughout the entire structure, we find that Mr. Bushness, assisted by able foremen, Messrs. James, Evans, and Crouse, and a gang of skilled workman, has been eminently successful” (page 5).
On Jan. 8, 1882, the Burlington Daily Hawkeye Gazette reported, “C. M. Crouse, of Chicago, superintended the stage carpenter work. That has been his life-long business, and what Mr. Crouse does not know about stage paraphernalia is not worth much trouble to find out. He was brought here from the Chicago Academy of Music to superintend the stage construction, and it is the general verdict that he has made an entire success. The stage appliances are as near to automatic as possible” (page 2). The same article also noted, “It is claimed by theater men that the Burlington Opera House is the most elegantly frescoed building in the northwest. The style is Moorish or Arabic and the work in detail and, as a whole, is artistic and worthy of the admiration so generally bestowed upon it by all who have seen it. Frank D. Skiff, of Chicago, is the scenic artist. He is from the Academy of Music, and his long experience enabled him to produce work that gives satisfaction and has achieved it with rapidity that is marvelous. He not only fulfilled his contract, but as a matter of fact, he has done more that he agreed to do. The opera house company will hold him in grateful remembrance. The drop curtain, which is truly “a thing of beauty,” was painted by L. L. Graham of Chicago, who ranks alongside the best artists in this line in the United States. The curtain is the topic of general conversation among the audiences and the subject of enthusiastic praise.”
And this is where several lives and careers intersect. L. L. Graham and Thomas G. Moses painted scenery at the Academy of Music in 1881; this is while Moses was working for Sosman & Landis. Moses’ sister Illie also worked as an actress at the Academy of Music during this same time. In 1882, Moses leaves Sosman & Landis to partner with L. L. Graham, establishing Sosman & Landis. By 1883, both are working at Sosman & Landis. In 1884, Graham relocates to Kansas City where he established his own studio and operated a branch office for Sosman & Landis. Also, in the spring of 1884 the Chicago Theatrical Mechanics Association was organized by John Barstow, John E. Williams and Frank Goss. Many of the Sosman & Landis stage carpenters, as well scenic artists, belonged to the organization.
Now read the next newspaper article about the new Burlington Opera House with a new perspective about what is going to happen.
Jan. 17, 1882, Ottumwa Daily Democrat reported, “The following, from the Fort Madison Plain Dealer, reads more like a Chicago item than an Iowa Item, “Burlington had to draw largely on Chicago for the skill and material necessary in the construction of the new opera house. The following list looks rather bad for the ‘home talent’ of the ‘metropolis of Iowa;’ The architect was Col. S. V. Shipman, of Chicago; the masonry work was done by George Chambers, of Chicago; the carpentry was let to M. B. Bushness, of Chicago; Fitzgerald & Querk, of Chicago, did the plastering; the cut stone and granite were furnished by Tomlinson & Reed, of Chicago; fresco work was done by P. M. Almini, of Chicago; Frank D. Skiff, of Chicago, painted the scenery except the drop curtain, which was done by L. L. Graham, of Chicago; C. M. Crouse, of Chicago, superintended the stage carpenter work; A. C. Hickey, of Chicago, did the plumbing and gas-fitting; Richardson & Boynton, of Chicago, furnished the heating apparatus; the galvanized iron and tin work was done by Kinsley Bors. & Miller, of Chicago; the roofing was put on by M. W. Powell & Co., of Chicago; the opera chairs came from H. Andrews & Co., of Chicago, the sculpture work was executed by D. Richards, of Chicago; the fancy tile flooring was laid by Henry Dibler, of Chicago; H. L. Berry, of Chicago, put up the iron shutters; E. Baggatt & Co. of Chicago, furnished the gas fixtures, and the silverplated work was done by Baldwin & Co,, of Chicago, Chicago ought to be well pleased with the part she took in Burlington’s Building. She was certainly well paid” (2).
Crouse remains in Chicago where is continues to be listed in the City Directory. Here is his 1885 Chicago Directory listing: “Crouse, Cyrus M. Crouse, carp. House 157 W. Washington.” Crouse continues to travel, keeping the same address for the next few years. During this time, Crouse continues to travel for work. Likely representing Sosman & Landis and leading on site installations and outfitting of stages. On Sept 10, 1886, the Columbus Enquirer Sun announced, the arrival of “C. M. Crouse, Chicago” at the Central Hotel (page 23).
Here are the Chicago directory listings for the next few years:
1887 Crouse, Cyrus M., carp. h. 157 W. Washington
1888 Crouse, Cyrus M., carp. h. 51 S. Union
1889 Crouse, Cyrus M., machinist. h. 51 S. Union
In 1889, Crouses’ residence, 51 S. Union, was a multi-residence building, home to a variety of businesses and people, including stage carpenter James A. Carana, was also boarding at 51 S. Union. For example, on March 3, 1889, the following want ad was placed in the Trades section of the Chicago Tribune (page 23):
“SITUATION WANTED – By practical engineer with best references, Chas. Jorgenson, 51 S. Union.”
In the late-1880s, there were dozens of stage carpenters working in Chicago, with many listed in the City Directory simply by the trade “carp”, for carpenter. Of these men, only a few were mentioned newspaper articles. This was a period of change in the industry, as allegiances formed, and groups worked toward a common goal. However, not everyone held the same common vision. While some worked toward a mutual aid association, others pushed for a labor society. Crouse was in the middle of this debate, a battle that made headlines in Chicago. On May 13, 1888, the Chicago Tribune published an article entitled “In Pursuit of a Corpse.” Theatrical charities were discussed, with emphasis on Chicago’s Theatrical Mechanics Association.
John Bairstow, stage carpenter at the Grand Opera and McVicker’s, was also featured in the article:
“Chicago has also a Theatrical Mechanics’ Association, which takes in all the hands about a theatre except the actors and managers. Many persons are employed in the purely mechanical department of the theatre. At McVicker’s 120 persons were behind the curtain when Irving played, their duty being to look after scenery, lights, traps, ‘drops,’ properties, etc. It required sixty to look after ‘A Run of Luck,’ and forty is the average number of men employed. Mr. John Bairstow, master carpenter at McVicker’s, has been the head of the Theatrical Mechanics’ Association since it was started, but recently has been pushed out by radical members, who wish to make the society a labor instead of a mutual aid association. The men work only a couple hours a night, and they want $9 a week instead of $6. This exorbitant demand is likely to be firmly resisted by the capitalist managers. The theatrical mechanics will likely find that they have destroyed a worthy charity in forming a worthless labor machine” (page 25).
Although Crouse continued to work as a stage carpenter in the 1890s, his name no longer makes news. I have only been able to trace him to a handful of Chicago Directories. Here are his listings in the 1890s:
1890 Crouse, Cyrus M., carp. 116 S. Halsted
1891 Crouse, Cyrus M., carp. 116 S. Halsted
1896 Crouse Cyrus M., Cyrus M., carp. 118 S. Halsted
1897 Crouse, Cyrus M., carp. h. 51 S. Union (same home address as he listed in 1888 – 1889)
1898 Crouse, Cyrus M., carp. h. 51 S. Union
Crouse passed away on Sept. 9, 1899, in Chicago. He was 62 years old and listed as a stage carpenter. Like many of his Sosman & Landis colleagues, Crouse was buried at Forest Home Cemetery, Forest Park, Illinois. Forest Home Cemetery is located at 863 S. Des Plaines, Ave. in Forest Park. His name was published in the Official Death Record section of the Chicago Tribue on Sept. 12, 1899 (page 5). The listing for Burial Permits issued by the Health Department included, “Crouse, Cyrus M., 62; 188 S. Halsted-st., Sept, 9.”
Sadly, I cannot even include a picture of Crouses’ gravestone as cemetery records do not indicate where he was actually laid to rest in 1899.
John Moore worked as a scenic artist at Sosman & Landis in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund in Chicago. On August 2, 1885, the Chicago Tribune published a list of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). John Moore was included as part of the Sosman & Landis staff, having contributed $1.
After weeks of tracking down numerous artists named John Moore who worked during the late-nineteenth century and early-twentieth century, I struck gold in California. It was Moore’s ending that brought me back to his beginning. All I needed was an approximate birth year and connection to the theatre.
On Jan 20, 1933, The Placerville Mountain Democrat announced: “Old-Time Trouper Dies; Funeral Held on Monday” (page 8):
“John Moore, 67, a native of Boston, who spent the last years of his life as a scenic artist for manager Frank Atkins, of the Empire Theatre, died on Friday. The funeral services were held on Monday from the Dillinger mortuary chapel, the Rev. John Barrett officiating. Burial was in Middletown cemetery.”
With this little bit of information, I was able to zero-in on scenic artist John Moore. He was born on April 4, 1866, in Hingham, Massachusetts. For geographical context, Hingham is situated on the south end of Boston Harbor, in Hingham Bay. It made sense that Moore told people he was from Boston, and not Hingham, as Boston was much more identifiable to those from far way.
I was thrilled to have a beginning, but there was so much more. His 1933 obituary continued:
“John Moore has no known surviving relatives. Little is known of him save that he was a veteran of the theatrical profession in every sense and meaning of the word. At the age of sixteen, he left his home in Boston and for more than half a century engaged in various branches of the theatrical business. He traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville. He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the empire theatre has shown.”
Moore’s relatives may have predeceased him, but he certainly had a “theatrical family” who mourned his passing. John Moore was remembered by those who listened to his stories and considered him to be “a veteran of the theatrical profession in every sense and meaning of the word.” That is quite a compliment. When reading that line, I understood why it was so difficult to track down Moore’s life and career; he was constantly on the road.
Of all the obituaries that I have read, Moore’s managed to touch my heart in just two short lines. Someone cared enough to write, “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”
This brought me back his early days in the theatre. Moore was 19 years old when he painted for Sosman & Landis. This was three years after he left Boston. In 1885 Moore was listed in the Chicago Directory as a painter, living at 2329 LaSalle. In addition to working as a scenic artist, Moore also performed at the Academy of Music in Chicago. On Sept. 13, 1885, John Moore was listed as an actor at the Academy of Music, playing the role of Rushton in a revival of “The World.” The article also reported, “It will be produced under the management of Dickson & Joel, with new scenery, including the great raft scene, the departure from Cape Town, explosion in midocean, and the escape from the asylum. All the original novel scenic and mechanical effects will be introduced” (page 13).
Moore left Chicago by 1886 and headed south to Kansas City. From 1886 to 1896, he was sporadically listed in the Kansas City Directory as a scenic artist working, often working for for L. R. Close and Co.
This places Moore with the same group of scenic artists who constituted the main labor pool for Sosman & Landis, L. R. Close & Co., and L. L. Graham. Close and Graham both worked as Sosman & Landis, as well as founding their own studios. Keep in mind that scenic artists were constantly shuffled between shops by studio owners. Scenic studios formed alliances and were often listed as affiliates in various publications.
Furthermore, Sosman & Landis ran several branch offices, including one in Kansas City. Both Close and Graham managed the Sosman & Landis branch office while conducting business at their own Kansas City scenic studios in the 1880s and 1890s. L. R. Close primarily worked in Kansas City from 1883 to 1894, when Close relocating to Chicago. From 1895 until his passing in 1901, Close worked as a traveling salesman at Sosman & Landis.
Moore’s listing in the Kansas City directory from 1886 to 1896 suggests that he was constantly on the move. Moore lived at six different addresses over the course of ten years during his time in Kansas City. This was not uncommon, as scenic artists traveled constantly, delivering scenery from one opera house to the next, or traveling with road shows.
Here are the City Directory listings for John Moore in the Kansas City, Missouri:
1886 Moore, John, scenic artist, L. R. Close Co., bds Tiltons Hotel
1887 Moore, John, artist, L. R. & Co. Close rms 516 B’way
1889 Moore, John, artist, L. R. Close & Co., rms 119 W 5th
1891 Moore, John, artist, L. R. Close & Co. rms Cherry nw cor 5th
1892 Moore, John, artist, r 524 e 5th
1896 Kansas City Directory Moore, John, artist KC Scenic Co. b 2337 Grand av
A few things…516 Broadway was the business address for L. R. Close & Co. This meant that in 1887. Moore was rooming at the studio and accepting his mail there. Many of the scenic artists workin for both Close and Graham listed the studio address as their residence. This was because they were constantly on the road, going from one venue to the next.
Between 1897 and 1922, I lose track of Moore. There are plenty of John Moore’s working in the poplar entertainment industry; I just don’t know if they are the same “John Moore.” This is likely when his career took a series of twists and turns, as he “traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville.” As mentioned in his obituary: “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”
The next mention of Moore’s scenic art activities ties him to northern California, in the Sacramento region.
By the early 1920s, Moore became associated with actor Will Maylon and the Maylon Players. Maylon, and his wife, Caroline Edwards, traveled with a small group of performers, a technical director (Leonard Bouford), and a scenic artist (John Moore). Advertisements highlighted Maylon’s US military service; he fought overseas during WWI, with the 40th Division in France.
In 1921, the Maylon Players primarily performed in northern California towns including, Red Bluff, Gridley, Corning, Oroville, Chico, Calusa, Lincoln, and Marysville. It is at this time that Moore settled in Marysville, California and began making local newspaper headlines. In 1922, the Maylon Players selected Marysville, California, for their headquarters. For geographical context, Marysville is the county seat of Yuba County, situated at the junction of the Yuba and Feather Rivers on the western slope of the Sierra Nevada mountains.
Detail from the map of railroads to Yuba County, California.
On Sept. 13, 1922, the Marysville Daily Appeal announced (page 7): “Marysville To Be Headquarters For Maylon Players. Coming back stronger than ever the Maylon Players will open at the Atkins theatre Monday, September 18, in the comedy sketch ‘An Indiana Romance.’ The Maylon Players, always a favorite with Marysville audiences have been enlarged until today they stand premiere before the coast wide stock organizations as a leader in their particular line of endeavor. Led by Mrs. Lulu Wasley, the grand old lady of stagedom, loved and revered by all good people, the Maylon Players with their new scenic effects, costuming and real acting are coming home. The company will make their headquarters in Marysville for the season, and will become one of the big families of this city. Marysville will this year be given the first presentations of the Maylon Players’ activities. All business concerning the placing of plays the painting of scenery and other matter pertaining to the company will be done in Marysville.”
On Sept 20, 1922, the Oroville Daily Register reported, “An Indian Romance” [by the Maylon players] which opens tonight, is a play that follows a success in New York run recently was presented at the Alcazar Theatre in San Francisco. Mr. John Moore, considered one of the cleverest scenic artists in California, has designed come beautiful settings for this play. Petaluma critics were lavish in their praise of Mr. Moore’s mounting of the Maylon production” (page 3). On Oct. 11, 1922, the Oroville Daily Reporter reported, “The scenes of the coming play especially painted for this great production by John Moore, veteran scenic artist, in the Maylon Studio at Marysville, are taken from an actual Cantina of Ensenada, Mexico.” (p. 5).
The Maylon Players productions were very well-received in Marysville, with Moore’s work repeatedly mentioned in the local newspaper. On Oct 22, 1922, the Daily Appeal reported, “the work of John Moore scenic artist placed an atmosphere of old Mexico that was very realistic” (page 8). On Oct. 25, 1922, the Daily Appeal reported, “Packed House Is Pleased by Show Given by Maylons (page 1). The article continued, “There was no disappointed theatregoers last night leaving the packed Atkins theatre, where they viewed the work of the Maylon Players in producing “Bought and Paid For” a play that from start to finish rang true to those little incidents of high society life that make for sadness in the hearts of man and wife. The story of Virginia, enacted by Mrs. Ted Maxwell, and that of Afford, man of wealth, but subject to a habit, portrayed by Will Maylon, proved to be a shining vehicle for the little company that lust night packed the theatre. The tale as told before the footlights contained elements of human interest, and high lights of clean comedy with all character portrayals played as only the Maylon players can do. There was Ted Maxwell, is Jimmie. who falls into a fortune of wages in his rise from $l4 to $100 per, and ‘Mother Wasley in the role of Josephine, the maid. Her part last night was small but well played. Oku, Japanese man-Servant. was creditably portrayed by Leonard Bouford. With his sly, cunning, Japanese manner and his curious, ‘Sense please. Oku.’ he gave a true interpretation of his part. The costuming and scenery proved to all that the head of the popular players was attempting to give Marysville theatre patrons, the best to be had. The scenes were the work of John Moore, scenic artist of the company, and of Bouford, technical director. As an added attraction “Rawling’s bears,” were put through difficult animal acts, to the evident satisfaction of all patrons of the Atkins. These animals show themselves to be well trained. Next week’s play will be “Other People’s Money.”
Atkins Theatre on D Street (right side of street).
The Atkins theater becomes an incentive for Moore to remain in Marysville, after the Maylon Players leave town. Built in 1921, the Atkins Theatre was in the same building as the original Marysville Theatre (c. 1908). It burned down in 1926. Atkins Theatre was rebuilt and later renamed the National Theatre.
Atkins Theatre on D Street in Marysville, California.
Marysville Theatre before it became Atkins Theatre.
Interior of the Marysville Theatre, later renamed the Atkins Theatre. This stage once featured the scenic art of John Moore.
In addition to working for the Maylon Players, Moore secured a variety of other projects in town. On Oct. 14, 1922, the Marysville Daily Appeal reported, “Many of the Egyptian decorations of the Sciot Circus that are attracting wide-spread attention are the work of John Moore, scenic artist of the Will Maylon Players. Moore, has won a good reputation for his work with various stars of the theatrical profession, having produced some of the best scenes ever presented before the public.” (page 5).
That winter, the Maylon Players presented “The Dangerous Age” at Atkins Theatre. Of the scenery, the Daily Appeal described, “The living room of the – Harvard home was portrayed beautifully. From a French window in the distance was seen the lights of a great city, with twinkling stars from a pure sky sending forth a thrilling message over the Harvard home. The scene was one of beauty, entailing much work on the part of Leonard Bouford, technical director, and of John Moore, scenic artist of the Maylon company” (Dec. 13, 1922, page 4).
By 1925, Moore was no longer associated with the Maylon Players. The troop had relocated to Spokane, Washington, and were performing at the Auditorium Theatre. In 1925, The Billboard listed the Maylon Players as including Will Maylon, wife Caroline Edwards (Mrs. Maylon); Lou J. Foote, director; Crawford Eagle, heavy; Grace Van Winkle, Edith Mote, Leonard Bouford, Jack Whittemore and two new members William Ruhl and Louise Miller (Aug 29., 1925 Vol 37 No. 35, page 26).
Moore remained in Marysville, and in 1926 was listed in California voter records, as a scenic artist living in Yuba City. By 1928. Moore was listed as scenic artist at the National Theatre. On Feb 21, 1928, the Appeal-Democrat of Marysville, CA, reported, “platform trimmings were put in place by John Moore scenic artist of the National Theatre. He draped the platform foundations and then painted the draping. He erected the stage set which gave the platform a back wall. He did a good job” (page 7)
The following year, Moore was credited with delivering scenery for the Yuba City Highschool’s production of “Bells of Capistrano.” On April 17, 1929, the Appeal-Democrat reported, “Special scenery with Spanish settings will be used. This scenery was recently painted by John Moore, of the National theatre, scenic artist” (page 12). This production was the first operetta ever given by the Yuba City High School. On April 20, 1929, the Appeal-Democrat commented that Moore’s scenery “greatly added to the atmosphere of ranch life in the early days of California. The opening scene was in the hills at night with a ceremonial fire burning, and Indians grouped around it singing prayers to the Great Father, while the medicine man beat incessantly on his drum. The other scenes were on the ranch, Orteog, which was in trouble due to the disappearance of the great herd that would have paid of the mortgage on the home” (page 16).
That summer, Moore was on the road again, painting scenery for neighboring towns such as Colusa. On Aug. 28, 1929 The Colusa Herald reported, “Yuba Man Paints Drapes for New Gem Theater. John Moore, Marysville scenic artist, has completed a contract whereby the stage of the gem theater here is equipped with new draped and curtains. Moore has outfitted a number of theaters in northern California with scenery. His screen, for moving pictures, is widely used” (page 2).
Moore relocates from Marysville to Placerville in 1930, following Frank Atkins, previous manager of Atkins Theatre in Marysville and likely author of Moore’s obituary. Placerville is approximately 71 miles southeast of Marysville, and due east of Sacramento.
Distances between Marysville, Placerville and Sacramento.
Maysville and Placerville in California.
On Sept. 19, 1930. Atkins opens the Empire Theatre in Placerville. Moore immediately becomes scenic artist for the venue. This is where is important to know a little bit about Atkins. On Sept. 19, 1930, The Mountain Democrat of Placerville reported, “as a youth Mr. Atkins managed the Atkins Theatre at Marysville for his father and at 21 was owner and manager of his business” (page 4). The article also credits Atkins as manager of the Campus Theatre, Berkley, and owner of the Lyric Theatre, Marysville; in Marysville, Atkins’ brother still managed the venue.
Advertisement for the opening of the Empire Theatre in Placerville, California, on Sept. 19, 1930.
Moore continues to accept many other projects, including the design and construction parade floats. On May 29, 1931, Placerville’s Mountain Democrat announced, “There was an ‘Old Freighter’ in the parade driven by Ludwig Peterson. The wagon had been rebuilt by John Moore, the expert decorator at the Empire Theatre, and old timers say that the wagon looked like the real article” (page 4). On June 19, 1931, the “Placerville Mountain Democrat” reported, ““Last week-end was put on by the Native Sons and Daughters in real style, wasn’t it? The float depicting the early days of mining in this vicinity entered in the parade by the Native Sons was certainly attractive. Lots of work to make that float, and if happens that you have not heard who made it, we’ll state that it was the work of John Moore, of the Empire Theatre staff” (page 1).”
Less than 18 months later, Moore has passed away in El Dorado, California, on Jan. 13, 1933. The Mountain Democrat reported that Moore spent the “last years of his life at Empire Theatre.”
The Empire Theatre in Placerville, California.
The Empire Theatre is now home to Empire Antiques in Placerville, California.
The building that once housed the Empire Theatre is still standing, now home to Empire Antiques store. Someone is certainly trying to save this old theatre, as I was able to find some interior images posted to the FB Group “Restore the Empire Theatre Placerville, CA.” Here is a peak into a building that once featured the scenic artworks of John Moore.
In 1885, Karl Boettger was listed as a Sosman & Landis employee, included in a list of employees who made donations that summer to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” listed Boettger as one of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). Karl Boettger donated $1.
Born in 1864, Boettger emigrated from Germany 1883. Boettger sailed from Antwerp aboard the Belgenland. On April 20, he arrived in New York. The ship was part of the Red Star shipping line, measuring 403’ x 40’ with compound engines, four masts, and an iron hull. In many ways, I know more about the ship that transported Boettger than Boettger himself.
After arriving in the United States, Boettger settled in Chicago and made quick in-roads into the midwestern scene-painting community. In America, Karl soon went by Carl Boettger, anglicizing his first name. By the fall of 1885, he was even listed as part of the Scene Painter’s show, mentioned in the “Art Union” article by John Moran: “…works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, Chas. Ritter, H. Buhler and John Howell Wilson.”
Within three years if his arrival in the United States, Boettger had secured employment, exhibited his fine artworks, and married. On July 10, 1886, Boettger married another German immigrant, Katharine “Katie” M. Rosener. Katherine was born on May 6, 1866, emigrating with her family in 1872.
In 1887, Boettger was living at 160 Crystal, Chicago, listed as a painter…and that is all that I have uncovered about his career!
Listing for Carl Boettger in the 1887 Chicago City Directory.
Boettger passed away on Dec. 4, 1888, just a few months before the birth of his first-born child, Charlotte.
His obituary was published on Dec. 6, 1888, in the “Inter Ocean” –
“BOETTGER – Dec. 4, at No 84 Crystal St, Carl, husband of Kate Boettger, aged 25 years, 3 months, and 4 days. Funeral to-day by carriages to Graceland” (page 8). Graceland Cemetery records list him as “Carl Boetocher, died 12/4/1888.” He is buried in Block 12, grave 451. This is the same person, but you can see how hard it is to trace the lives of some individuals. Many of the difficulties stem from a combination of poor handwriting, human error, and computer software that exacerbates misspellings. I have yet to locate a death certificate or newspaper article that identifies any cause of death. Boettger was only 25 yrs. old when he passed away.
Gravesite of Carl Boettger at Graceland Cemetery in Chicago, Illinois.
Boettger’s daughter, Charlotte P. Boettger, was born on Feb. 13, 1889.
His wife, Kate Boettger, remarried the next year, on May 3, 1890. Her second husband was William S. Bird, a mechanic and gas fitter. Bird was also an immigrant, born in England about 1852. The couple went on to celebrate the birth of two children.
In 1900, the Birds were living at 110 Stewart Avenue in Chicago and their household included: William (45), Katherine (33), Charlotte (11) and Beatrice (8).
Carl’s only child, Charlotte, was married to Frederick J. Nathanson on June 9, 1906; she was 17 yrs. old at the time. Frederick worked as a theatre musician and continued to do so for the next several years. The 1910 census listed Charlotte and Fred Nathanson living with their two children, Mildred D. (3 yrs.) and Richard W. (8 months) at 6800 Union Avenue; the same address as her mother, stepfather, and half-sister Beatrice. Beatrice eventually married Daniel Joseph Kelly, a mechanic who initially worked for Bennet & Davos Co., later becoming primarily a chauffeur. Beatrice and Daniel Kelly continue to live with Kate Bird at 6740 Sangamon. William S. Bird died on March 29, 1918. In 1920, the US Federal Census again listed the Nathanson and Bird families living at 6740 Sangamon in Chicago. The extended family continued to live in Chicago, at Sangamon, until the 1930s; Fred Nathanson was still working as a musician.
Kate Boettger Bord passed away in 1928 and is buried next to her second husband, William, at Evergreen Cemetery.
On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. For an understanding of the donations listed below, $1.00 in 1885 is equivalent in purchasing power to about $31.00 today.
The list of Sosman & Landis employees who made donations included:
Sosman & Landis $10.00
Thomas G. Moses $2.00
Henry J. Buhler $2.00
David A. Strong $1.00
George W. Dayton $1.00
J. C. Evans $1.00
Karl Boettger $1.00
Frank E. Gates $1.00
John Moore $1.00
Edward Loitz $1.00
C. W. Carey $1.00
C. M. Crouse $1.00
Frank Lewis $1.00
William Martin $0.50
Frank Ford $0.50
B. P. Lee $0.50
Julius Fehrman $0.50
Fred Miller $0.50
Hugo Schoessling $0.50
Mrs. J. S. Curran $0.50
Ed Donnigan $0.25
Kirke W. Moses $0.25
This post is about J. C. Evans who donated $1 to the Grant Memorial Fund in 1885.
I began researching Evans while waiting for a plane in the Minneapolis airport on January 9, 2023. My destination was Galveston, Texas. I had been hired by the Galveston Scottish Rite to examine the contents of their scenery collection. You could not have imagined my surprised when I began to track down the scenic art career of J. C. Evans (1841-1915), as he worked in Galveston, c. 1867-1880.
Advertisement placed by J. C. Evans in 1873.
The initials “J. C.” were for John Charles, but many people in Galveston called him “Charley.” It was a challenge tracking down the life and career of Evans as his ethnicity continued to shift. Even the end of his life presented more questions than answers.
There are two entries in the Cook County Illinois Death Index for John Evans; this is the same person, buried in the same cemetery. One entry lists his birthplace as Italy: the other lists Cuba. I encountered a very similar issue with the birthplace of Evans and his parents over the course of decades.
The 1880 US Federal census lists Evans mother as Spanish, with his father hailing from England. The 1900 Census indicates that Evans was born at sea, with his father from Spain, and his mother from England. The 1910 census lists his father as Spanish, and his mother from New York.
Spain – Cuba – Italy. I began to wonder if he was passing.
I took a deep dive into Evans’ life, examining name changes, directory listings, travels, and employment, all through the lens of enslaved Texans and the Jim Crow South. I traced the trail of Evans; male born in Texas, c. 1840-1841. I think that I located Evans and his family in East Texas. I certainly learned quite a bit about the region.
If I have tracked the correct J. C. Evans…eventual scenic artist at Sosman & Landis in 1885…here is his story:
As a young man, John C. Evans pops up in the small town of Angelina. You can’t find it now, as 1893 the town’s name was changed from Angelina to Durst. Angelina was in Angelina County, the only Texas county named after a woman. For geographical context, Angelina County lies in the angle between the Neches and Angelina Rivers, two waterways that provided access to Beaumont and other coast ports. Angelina County was also the ONLY East Texas County, and one of a select few throughout the state, that did NOT vote for secession in 1861.
The town of Angelina was settled before to the Civil War, with a post office opening in 1855. In 1850, the population of Angelina reached 1,165 with 196 enslaved residents, although I located only 130 on slave schedules for the county that year. The following slave owners were listed in the slave schedules filed in Angelina County: Solomon Wolfe (50 slaves), L. L. Ewing (35 slaves), Sammie Needham (9 slaves), John F. Robert (3 slaves), William Harrington (7 slaves), John L. Boman, (20 slaves), Gedas Weeks (4 slaves), W. W. Hankes (10 slaves), George R McClay (3 slaves), George Massingill (2 slaves), Gael Hill (6 slaves), Nathan Hicken (4 slaves), Mary Walker (4 slaves), Sarah Goodwin (2 slaves), Camelia Dalerhid (5 slaves), Ephraim Anderson (2 slaves), John Sessions (3 slaves), B Shelt (1 slave), S. Nearn (1 slave), James Ashworth (1 slave), L. F. McFaden (1 slave), A Almirall (7 slaves), Enoch Needham (3 slaves), Jameel Needham (14 slaves), E. H. Jennis (1 slave).
By 1859, the number of enslaved individuals in the Angelina County was purported to be 427, with an estimated value of $269,550. During this time, the cotton industry in the area occupied about 2,048 acres in the county land. Cotton and other goods were floated down the river. In addition to plantation owners, there were many very poor farmers who owned no slaves.
There are a few things to consider about the county of Angelina and the State of Texas between Evans birth in 1840-1841 and his work as a scenic artist by the 1860s. The 1850 and 1860 US Federal Census only reported the names of free black people.
This is only a very small portion of the population as so much of the black population was enslaved. Mixed-race cohabitation was also illegal in many areas and meant that census data may record a black individual as white, and vice versa. In many cases, passing necessitated that individuals physically distance themselves from family members (parents, spouses or children) who could not pass for white. It appears that John C. Evans left his family at the age of 18 and never returned. He headed to Galveston where he began working as a sign painter.
Galveston remained the only major port in Confederate hands at the end of the Civil War. In fact, on June 19, 1865, 2,000 US troops arrived in Galveston Bay, announcing that enslaved people in the state were free by executive decree. At the time, there were approximately 250,000 enslaved people in the State of Texas. Keep in mind that the Emancipation Proclamation was signed on Jan. 1, 1863. Juneteenth is the federal holiday commemorating the abolition of slavery in Texas on June 19, 1865.
This was the world where Evans was born, raised, and began his career as an artist.
Evans was the eldest son of John Evans and Mary H. Evans. His father was listed as a 37-yrs.-old carpenter in the 1850 Census, born in Mississippi. His mother Mary was listed as born in Tennessee. They were purportedly married in 1840 and celebrated the birth of their first child (J. C. Evans) in Texas the following year. According to 1850 and 1860 census reports, all of their ten children were born in Texas, although no county is specified.
The 1860 census listed an 18 yrs. old J. C. Evans as part of the Evans household. Other members included following Evans family members living in Angelina: Mary H. Evans (36), Sarah (16), William (14), Joel H (12), Polly (11), Marion (9), Latimore (7), Benedict (5), and Alice (3). Evans father had died earlier that year, but he may have left well before that. Interestingly, one family tree at www.ancestry.com lists a second spouse for John Evans Sr. – Citha Ann Smith, citing a marriage in 1854. However, I have only located only one marriage for Citha Ann Smith that same years to S. M. Tucker in Cherokee County, Texas; Cherokee County is directly northwest of Angelina County. Everything is a bit too close to completely discount this possible connection, especially since S. M. Tucker was living in Angelina, Texas, in 1850. I have encountered too many illegitimate children and bigamists to believe everything in a census report, especially prior to the Emancipation Proclamation.
18 -yrs.-old John C. Evans listed in the 1860 Census Report, Angelina, Texas.
There were numerous slave owners in the East Texas region with the last name of Evans, individuals who owned children, many listed as “mulatto,” sharing the same age as J. C. Evans, scenic artist. I have no concrete evidence to verify or disprove Evans’ race, especially when considering how enslaved people listed in slave schedules. I will say, there is something that hits you to the core when examining slave schedules; seeing thousands of human beings who are only identified by age, gender, color, and owner. This topic is central to American History, and any attempt to diminish its lasting legacy reveals an underlying desire to repeat it.
Portion of a slave schedule for Angelina County, Texas, 1850.
That being said, Evans’ theatrical endeavors made news by the fall of 1863 when he managed the Southern Dramatic Association. Keep in mind that the Civil War started April 12, 1861, and ended May 13, 1865. Evans first appears in a Houston newspaper on October 23, 1863.
Houston’s “Tri-Weekly Telegraph” published the following announcement:
“Notice. – The Southern Dramatic Association take pleasure in announcing to the ladies and gentlemen of this city and vicinity, that they have employed an efficient Police force to preserve strict order. Polite ushers will be in attendance to seat ladies. Smoking and other nuisances will be strictly prohibited. -J.C. Evans, manager” (page 1). On September 16, 1863, $3380 was raised in Houston by the Southern Dramatic Association to present silver battle medals. They were created from Silver dollars and the only Confederate wartime issued battle medals. These medals commemorated the Battle of Sabine Pass that allowed the Confederacy to maintain control of the Texas coastline for the duration of the Civil War. Here is a link to learn more about the Battle of Sabine Pass and the medals presented by the Southern Dramatic Association: (http://www.reaganscvcamp.org/Newsletters/Volume_8_Issue_7.pdf)
Perkin’s Hall became the home for the Southern Dramatic Association during the war. On January 28, 1864, the “Tri-Weekly Telegraph” reported, “The Southern Dramatic Association will play the thrilling drama called the ‘Guerilla Chief’ again this evening, at Perkins’ Hall. The play is founded on facts that have taken place during this war in Virginia and are of the most truthful and thrilling character. The Hall has been crowded nightly by delighted audiences, and all who have attended pronounce it the best play ever produced on the stage in this city. Mr. John English, the unrivaled actor, and Mrs. Sala sustain the leading characters. If our reader wishes to witness an interesting play, they should not fail to attend” (page 2)
He next appears as a theatre performer on May 2, 1866 (page 4). Mr. J. C. Evans was listed as performing a “comic song” after Mr. and Mrs. Bates production of “Leah the Forsaken; or the Jewish Maiden’s Wrong.”
J. C. Evans as a performer in 1866, Houston.
The first mention of Evans as a scenic artist was in 1866 at Perkin’s Hall in Houston. He delivered scenery for the “Camille” production on April 12, 1866. Houston’s “Daily Telegraph” reported, “J. C. Evans, the scenic artist, had contributed greatly to the success of the play.” Evans worked as both a scenic and decorative painter, initially specializing in fresco and sign painting.
On July 4, 1866, the “Tri-Weekly Telegraph” mentioned scenery by Evans at another Perkin’s Theatre Show, “Aladdin; or the Wonderful Lamp.” The advertisement announced, “Produced after weeks of preparation, and without regard to cost with NREW Scenery by J. C. Evans; New Machinery by J. G. Steele and assistants; New Properties and Appointments by W. L. Forrester; New Dresses and Wardrobe by Job Jameson.”
1866 advertisement listing New Scenery by J. C. Evans.
On May 17, 1867, Houston’s “Tri-Weekly Telegraph” announced:
“A solution. A correspondent sends us the following situation of the ‘Curious Fact,’ published in our columns yesterday: ‘Notwithstanding the removal of the Postoffice, the public are informed that they may still obtain letters of every description at its former locality by applying to J. C. Evan and E. S. Fendwick, house and sign painters. M.J.L.” (page 5).
This was Edward S. Fenwick; Fenwick’s father, Cornelius Cuthbert Fenwick (1815-1874), was an English painter, having passed along the trade to his sons, including Edward (b. New York, 1838), Charles (b. Illinois, 1852), and Fred/Fritz (b. Illinois, 1855). Evans partnership with Fenwick was short-lived, as Fenwick died from yellow fever that fall.
In 1867, Evans worked in both Houston and Galveston. On Aug 22, 1867, “The Galveston Daily News” reported, “Major Dick Dowling has just received from the easel of Charley Evans the handsomest sign in Texas – Evans is without rival in the Trans-Mississippi Department as a sign-writer, and Dick Dowling is a legitimate representative of Bacchus – ‘in a horn.’ (page 2).
Informal articles and stories refer to J. C. Evans as Charley or Charles; John Charles Evans used his middle name quite a bit in Galveston, until his only son came of age.
On Oct. 1, 1868, the “Weekly Telegraph” reported, “We have received from Mr. J. C. Evans, No. 84 Main Street, a bust of Horatio Seymour, executed in plaster. It is a striking likeness of the great statesman, and will place Mr. Evans as an artist, in a new light before the public. The bust is from a photograph recently taken in Utica, the home of Mr. Seymour, and therefore may be relied upon as correct. A specimen of this work can be seen at Marston & Hopkin’s store, on Main Street, or at the office of the TELEGRAPH. Mr. Evans informs us that he is now prepared to supply duplicates at reasonable rates” (page 6).
By the summer of1869, Evans became associated with a local Galveston business – Rice & Baulard.
Rice & Baulard advertisement mentioning J. C. Evans in 1869.
On June 16, 1869, a “Galveston Daily” advertisement announced:
“J. C. Evans, with Rice & Baulard.
Dealers in Paints, Oils, Glass, etc. Wall Paper and Window Shades.
77 Tremont Street, Galveston.
House, Sign, Fresco and Banner Painting.”
Joseph W. Rice and Victor Joseph Baulard established Rice & Baulard in 1850, advertising as dealers of ready mixed paints, window glass, wall papers, oils, and contract painters. Rice was the master painter, with Baulard first working as his assistant, c. 1845-1850. Their advertisements provide a sneak peak into the goods and services they were offering. On March 27, 1866, the “Galveston Daily News” included a Rice & Baulard advertisement noting: “Paints, oils, glass.-we are continually receiving fresh goods in our line from New York, such as WHITE LEAD. Different brands, French and American zinc, Linseed oil, raw and boiled, Turpentine, varnish. American and French glass, single kinds; together with Fire and Artist’s’ colors and tools and prepared canvas, etc. Work executed as usual” (page 4). The firm was later associated with the Galveston Paint Co.
Rice & Baulard’s firm in Galveston, showing a Galveston Paint Co. can of Ready Mixed Paints.
Evans continued to work for Rice & Baulard until the fall of 1868 when he struck out on his own. On Aug 11, 1868, “The Galveston Daily News” reported a series of transparent signs painted “by the skilled hand of our friend ‘Charley Evans’” (page 2). By Sept. 11, 1869, the “Galveston Daily” announced, “Mr. J. C. Evans, the popular sign painter, formerly with Rice & Baulard, has established himself at 220 Tremont Street. Mr. Evans, we understand, has been engaged as a scenic artist at the Galveston Theatre His card will be found in another column” (page 2). After Evans departure from Rice & Baulard, George W. Outterside joined the business.
Evans not only painted scenery for the venue, but also continued to advertise as a local sign painter. On Dec. 4, 1869, advertisement J. C. Evans Sign Painter 220 Tremont Street Galveston
J. C. Evans advertisement from 1869.
Sign painting was still listed as his primary occupation in 1870 Galveston City Directory: “J. C. Evans, Painter (Sign), 220 Tremont, or 23rd street.” This listing changed by 1872: “J. C. Evans, scene painter, Tremont Opera, res Ave. H, bet 18th and 19th St.” Around this time, Evans married and shared a home with his wife and child. Historical records suggest that the marriage took place in 1870, but the age of their child predates that date by several years. The only marriage certificate that I have been able to locate is dated Sept. 1, 1870, New Orleans; John Evans married Julia Kelly. I have yet to confirm these are the correct individuals, as Julia later went by Julia C. Evans or Julia E. Evans, remaining int the Galveston area with their son until the 1880s.
Oct. 16, 1869, “Galveston Daily News” (page 3). For Joe Jefferson’s “Rip Van Winkle”, Evans was credited with special scenery to accompany the touring production. The article reported, “The scenery has never been approached by anything ever put on the stage in this city. Aside from the difference in the size of the stage it would not be appropriate to compare the scenes with that of any other theatre in the country. From first to last they were true to nature, and finished with a degree of precision which can only be attained by a master hand, and being the production of Galveston artist, Mr. J. C. Evans, we take much pleasure in commending the work so faithfully and faultlessly performed. The scenery and effects are really beautiful, and deserving of all the praise that has been bestowed on them.”
A new playhouse was built in Galveston in 1870 on the corner of Tremont and Market, on the old site of Neitch’s. The new stage was described in detail by Joseph Gallegly’s “Footlights on the Border” (1962). Galleghy included an excerpt describing the theatre in his publication, writing:
“‘…in all its appointments an exact counterpart of Booth’s in New York’, extended the entire width of the building and was 39 feet nine inches deep, with a proscenium arch 45 feet in width. The scenery, mounted on rubber rollers, and all machinery for stage operations, were in imitation of similar devices at Booth’s. Footlights of white, red, and blue made possible interesting scenic effects.”
I included this description because it provides one more link with New York. Being a port town, Galveston was directly connected with New York, just like New Orleans. There was a constant stream of individuals traveling from the Gulf to the Eastern seaboard. Despite an ever-expanding network of railway transportation, a major exchange of goods and services was available at Galveston Island. Unlike many Texas communities that fell far inland, there was a close connection with major metropolitan communities linked by major waterways.
In addition to working as the scenic artist, Evans also became the stage manager. On July 25, 1872, “The Galveston Daily News” reported, “The general management of this entertainment devolves upon Mr. J. C. Evans, then whom no better man could possibly have been selected” (page 3). His role at the opera house was repeatedly mentioned in newspaper article. On August 2, 1872, “The Galveston Daily News” reported, “Mr. J. C. Evans, the stage manager, was, as he always is, up to his part. Charley has become an institution of this city, and if you wish to make an enterprise successful, all you have to do is to call on ‘Charley” (page 3).
Evans remained connected with the opera house, while continuing to work throughout the region. On July 4, 1873, The “Daily Mercury” of Houston, Texas, announced.” Artistic.
In another column will be found the card of J. C. Evans, the popular scenic artist and decorator. Mr. Evans has, as scenic artist of the Galveston Opera House, become well known to most people of our State, while his decorations and scenery at the Houston New City Hall and Theatre commands the admiration of every beholder.”
From the fall of 1873 to the spring of 1874, Evans placed advertisements in Houston and Galveston newspapers. On Sept. 27, 1873, the “Houston Daily Mercury” advertised:
“J. C. Evans, Scenic Artist and Fresco Painter.
Orders for public and private Theatrical scenery, Church, Theatrical and Public Hall Decorations promptly attended to Address, Galveston and Houston” (page 3).
On Sept 12, 1873, “The Galveston Daily News” reported on the opening of the remodeled opera house on Market and Tremont street (page 3): “By the way, our Houston friends are preparing for a brisk season. We had the pleasure of examining their new theatre the day before yesterday, under the guidance of scenic artist Mr. Chas. Evans, and find it a very pretty place indeed. The scenery and decorations, got up my Mr. Evans, are artistically executed and would do credit to a much more pretentious establishment than that at Houston” (page 3)…”Perkins Theatre had also been put in repair…” On Sept 16, 1873, “The Galveston Daily News” reported, (page 2) “The illumination of the Academy of music took place at 8 o’clock to-night. The electric light showed well. The scenery, painted by J. C. Evans was magnificent. The mayor and alderman, and many ladies of the city, were present. After the scenery was all shown, Mr. Evans was called out and made a neat speech.”
Evans continued to complete a variety of painting projects in Galveston, including banners for local fire stations. On March 29, 1874, “The Galveston Daily News” announced, “The beautiful banner, recently painted by Mr. J. C. Evans, for Star State Fire Company, No. 3, will be on exhibition tomorrow at Mr. Evan’s studio, No. 166 Twenty-second street. It is a splendid work of art and should be examined by all connoisseurs” (page 4). On April 11, 1874, “The Galveston Daily News” reported, ‘A beautiful banner for Island City Steam Fire Engine Company No. 2 has just been completed by Mr. J. C. Evans and will be exhibited at his studio on Monday next” (page 4).
By 1874, Evans was publicly acknowledged as a Galveston asset. On Feb 18, 1874, “The Galveston Daily News” published a letter to Mr. J. C. Evans in “New Advertisements. Complimentary.”-
“Mr. J. C. Evans:
Dear Sire – We the undersigned citizens of Galveston, having known and esteemed you for many years – both as a man and as an artist – and having witnessed the promptness with which you have always given your personal services to the calls of charity, and the alacrity with which you have contributed to the pleasure of our citizens, desire, in acknowledgment of these, to tender you for a complimentary benefit, and will be glad to have you name a time and place, for the evidence of your approbation” (page 2). A list of 48 names and Evans’ response followed:
“Gentlemen – It is with gratitude that I acknowledge the receipt of your note, tendering me a complimentary benefit. The obligation I feel for this mark of your approbation is enhanced by the feeling and delicate terms in which it is conveyed. Be pleased to accept my thanks; and, if it should suit your convenience, I will name Saturday, February 21, at the Tremont Opera House.
Like many American scenic artists, Evans continued to perform on stage. On June 25, 1874, “The Galveston Daily News” included an advertisement for an event at the Tremont Opera House for Louisiana Sufferers. J. C. Evans was listed as the stage manager and a performer of “Lamentable Facts” alongside, Messrs. Ketchum, Johnson and Shields” (page 2). On Nov. 19, 1874, “The Galveston Daily News” reported, “Mr. J. C. Evans, the well-known scenic artist, played one of the characters to DeBar’s Falstaff at the opera house Monday night” (page 2).
He also continued to complete fine art projects. On Jan. 15, 1875, “The Galveston Daily News” reported, “Portrait of General Lee. A life-size portrait of General R. E. Lee may now be seen in one of the windows of Shaw Brother’s jewelry store, on Tremont street. The portrait was executed by J. C. Evans, Esq. from a photograph of General Lee taken in Richmond, Virginia” (page 4). On Dec. 19, 1875, “The Galveston Daily News” reported, “Promenade Concert given under the auspices of the Mozartina and Island City Glee Clubs at Armory Hall, dec, 29 1875. On which occasion will be given away as prizes thirty-one oil paintings, executed by Mr. J. C. Evans.” (page 2).
Evans listed occupation in the Galveston Directory shifted over the years.
The 1874 Galveston Directory listed, “Charles Evans, painter, 171 e Postoffice.”
The1875 Galveston Directory listed, “J. C. Evans, painter, Opera House, bds. Av. E or Postoffice, bet. 21st and 22d.”
The 1876 Galveston Directory listed decorative painter, bds. 114 e Pst [Postoffice]. Res es 22nd, bet Post and Church.
The 1877 Galveston Directory listed, “J. C. Evans, portrait painter, res 36 Winnie, bet 18th and 19th.
The 1878 Galveston Directory listed, “J. C. Evans, scene painter, res 36 Winnie, bet 18th and 19th.”
In 1878 Evans began to travel farther and farther away from Galveston. On Oct. 27, 1878, the “Galveston Daily” reported, “Mr. J. C. Evans, the artist, has returned to the city from Dallas, where he has been engaged for several months” (page 11). On his return, he established a boarding house. On Oct 28, 1877, “The Galveston Daily News” published the following:
“Two and a half story house, fourteen rooms, newly repaired, suitable for boarding house. J. P. Evans” (page 1). Despite a variety of investments and painting projects, Evans was still associated with the opera house as its business and stage manager.
. On July 6, 1879, the “Galveston Daily” reported,
“Improvements at the Opera House.
A News reporter visited the opera house yesterday and was shown through the entire building by J. C. Evans, scenic artist of the theatre, who has been engaged on the scenery for some time past. Mr. Evans was up to his eyes in work when the reporter called upon him and was demonstrating that the scenery would. Be finished in the highest style of art, and in a manner which not only would reflect credit to him as an artist of the first rank, but resound to the honor of the city and the opera house. All of the scenes will be renewed, as well as the drop curtain. The auditorium is to be renovated throughout. All of the interior scenes are to be modern patterns and complete sets for such standard dramas as may be necessary to be presented, have been provided. All of the scenes will be complete in every particular, which has never before been attempted in this city. The number of new sets will number about twenty-eight. The parquette circle previously has contained three rows of chairs outside of the supporting posts of the auditorium. The intention now is to remove the circle about one-half the distance toward the stage and change the directions of the aisles in a manner that will not only improve the appearance of the interior, but greatly conducive to the comfort of the audience. The seats in the circle are also to be increased six inches in distance from each other, thus making the matter of ingress and egress much more convenient than formerly” (page 11).
On October 5, 1879, the “Galveston Daily News” reported:
“The Opera-House. During the past summer manager Evans has devoted not more attention to the securing of a list of first class attractions for the approaching theatrical season than to a renovation and remodeling of the interior of the opera-house. By liberal expenditure of money he has through the services of a competent artist and skilled workman carried out a comprehensive series of improvement. On Friday evening the whole was exhibited to the representatives of the press by gaslight for the purpose of informing the public of what has been done and of showing how everything worked. The performance passed off satisfactorily to the manager and was the subject of comments from others present. The stage has been supplied with a new stock of scenery out and out – new in in frame, canvas, gear, design and painting – and for the first time the opera-house was built a complete stock. The scenic artist Mr. J. C. Evans has been engaged several months in the work of painting the scenes. He has executed every design with care and skill, and has worthily illustrated his genius in several, the most significant of which is the drop curtain. In the center of this is a picture from which a copy of the picture by Barth furnished the design, representing the casket scene in the Merchant of Venice.
[This print by F. Barth, Casket Scene – Merchant of Venice” was published in “Harper’s Bazar in 1875. The article then includes a quote from the play, Act II, Scene iii].
“Bassanio stands before the open casket, in one of which is enclosed, ‘Fair Portia’s counterfeit.” More music plays, while the lover comments to himself on the caskets – which shall be three, the gold the silver or the lead;”
[The next quote in the article is from “Merchant of Venice”,]
Thou gaudy gold, Hard food for Midas, I will none of thee; Nor none of thee, thou pale and common drudge ‘Tween man and man: but thou, thou meagre lead, Which rather threatenest than dost promise aught, Thy paleness moves me more than eloquence; And here choose I; joy be the consequence!
“What find I here?Fair Portia’s counterfeit.“
“The picture is one that will hardly over tire the playgoer, especially if he has the critical faculty which always finds renewed pleasure in seeing a true work of art. The rest of the curtain is finished in hangings of crimson velvet and claret silk, profusely ornamented with gold drages and tassels. At the bottom of the richly carved framework surrounding the picture is a medallion portrait of Dante, supported on either side by figures holding cornucopias of flowers and fruits. The front of the stage has been lowered and the footlights sunk so that the floor is the stage may be seen from every seat. The auditorium is changed much for the better. The parquet circle has been enlarged to contain one hundred fifty to one hundred seventy-five more seats, reducing the parquet to one hundred fifty seats. The result is that there are over two hundred seats now facing the stage, the occupants which were heretofore under the necessity of twisting their bodied. In the large-parquet circle no two seats of adjacent rows are immediately in line with each other and the stage, so that hereafter nigh bonnets will be no obstruction to the view of a rear neighbor. The rows are six inches wider apart, giving room for the comfortable disposal of long limbs, they rise above each other at a rate of 5 ½ inches as you recede from the stage and the outer row is twenty inches above the old grade of the same. Much good sense has been brought to bear in the improvement of the auditorium. The credit is bestowed upon F. C, Yeager, the stage carpenter, for the manner in which he has performed his work; also upon Mr. Tom Boyle, the gas-fixture man, who has shown himself an artist in the graduations of lights and shades” (page 12).
The 1880 Galveston Directory and US Federal Census provides a snapshot into Evans’ last years in Galveston. Listed as a portrait painter, he is living with his wife, Julia E. Evans, and 16-yrs.-old son Charles Evans. His father is listed as being born in Spain and his mother being born in England.
In 1880 the Evans family were living at126 Avenue E or Postoffice Street; the same address listed for Evans in the Galveston City Directory. It is important to note that Evans was listed in Heller’s Galveston City Directory, 1880-81 containing the addresses of all white persons in and out of the city limits, with a classified Business Directory, Post Offices and Counties in this states, money-order offices, &c. Compiled and published by John H. Heller, 511 Broadway, bet. 15th & 15th. His listing notes that he was employed at the opera house, whereas his son was a clerk at a dry goods store, P. J. Willis & Bro., cotton factors and importers and dealers in groceries, dry goods, notions, dress good. Boots and shoes and hats. This was the last time that Evans was listed in the Galveston Directory, although his wife would remain in town for at least the next four years.
By the summer of 1880, Evans was traveling, working as a scenic artist. His first project was in Brenham, Texas, approximately 76 miles northwest of Houston. On June 17, 1880, “The Galveston Daily News” reported, “Contracts were closed to-day for the remodeling of the Brenham opera-house. Mr. G. A. Dickey, of Houston, is architect, and Mr. J. C. Evans, of Galveston, scenic artist” (page 1). On that same day, the “Brenham Weekly” reported:
“THE OPERA HOUSE –
Mr. J. W. Webb, contractor, will this morning begin the work of remodeling the interior of the opera house in accordance with the plans of Mr. Dickey. Mr. J. C. Evans will also begin work on the new scenery. When complete the interior of the house will be second to none in the state” (page 3).
On July 1, 1880, the “Brenham Weekly Banner” reported:
“THE DROP CURTAIN. Yesterday, through the politeness of Mr. J. C. Evans, the artist, a BANNER reporter had the pleasure of viewing the drop curtain, which has just been completed by him. It is a beautiful landscape representing Missisquoi, near Shelton Springs. The foreground is rocks and trees, then a beautiful river with valley and mountain sin the distance. The perspective and coloring are truly artistic, and the naturalness of the picture is apparent to the eye of anyone who admires the beauty of nature. At the top and on both sides of the picture are rich curtains, while at the bottom is some beautiful scroll work, in the center of which is a splendid likeness of Col. Sam Stone, the owner of the opera house In this piece of work, Mr. Evans shows himself to be artist, in the full sense of the word. The Brenham Opera House now has one of the most handsomest as well as the most artistically executed drop curtains in the state of Texas” (page 3).
In 1881, Evans was listed in the New Orleans City Directory as “J. Charles Evans.” He had partnered with fellow scenic artist and German immigrant, Harry Henry Dressel (1850-1905), to briefly form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882.
Dressel was born in Hanover, moved to the United States with his family as a young boy, and became a scenic artist and decorator. His active years in New Orleans were approximately 1875 until his passing in 1905. Dressel is listed as an artist in a few publications, including “German Immigrant Artists in America” by Peter C. Merrill (1997).
H. H. Dressel’s grave in New Orleans.
Meanwhile his wife and son were still living in Galveston, listed in the 1882 City Directory, as “John C. Jr., clk Leon & H. Blum, home Mrs. Julia Evans” and “Julia Evans (Mrs. John C) r 210 22nd bet Ave E and F.” Her last listing at the address was in 1884: “Julia Evans (Mrs. John C.) r 160 E Winnie bt 21st, 22nd”. Evans occasionally returned to visit his family. On April 17, 1881, “The Galveston Daily News” reported, “Mr. J. C. Evans arrived from New Orleans yesterday on a visit to his wife and son, to stay during Spagerfest Week” (page 4).
Evans partnership with Dressel ended by 1883, with Dressel becoming the proprietor of Brown’s Hotel. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again.
1883 listing: Charles Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1884 listing: John Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1885 listing: Charles F. Evans, painter, r. 196 Palmyra
Meanwhile, Julia continued to struggle in Galveston without her husband. The few mentions of Mrs. John C. Evans trace the collapse of her finances and living situation. On June 26, 1884, “The Galveston Daily News” published:
“For Rent – a furnished 2-room cottage, to gentlemen only. Possession given July 1. Next to Casino Hall. Mrs. J. C. Evans.”
By the fall, everything was being auctioned off at a public sale. On October 14, 1884, the “Galveston Daily News” announced:
“AUCTION NOTICE
We will sell on Wednesday October 15, commencing at 10 a.m. The residence of Mrs. J. C. Evans, Winnie Street…Bedroom suit, parlor, dining room, kitchen furniture, glassware, ornaments, shades, three singing canary bords and miscellaneous articles. Immediately thereafter we will sell at the cottage on Winnie Street…marble and walnut suit, kitchen, dining room and parlor furniture…”
On Dec. 31, 1884, she advertised in the Situation Wanted section of the “Galveston Dily News”: “WANTED – Position as saleslady, seamstress, housekeeper, or governess for small children in city or country. Mrs. J. C. Evans, Winnie & 21st (page 17).
In 1885, Evans relocated to Fort Worth. On Nov. 30, 1885, “The Galveston Daily News” reported, “Mr. J. C. Evans, an old resident of this city, left yesterday to accept a business position at Fort Worth” (page 4). It remains uncertain as to when Julia Evans left Galveston to rejoin her husband. The next time that I have them together in the same residence in 1900.
We do know that in 1885, J. C. Evans is listed as an employee at Sosman & Landis who contributed to the Grant Memorial Fund. It is possible that his work in Fort Worth was for a Sosman & Landis regional branch office.
His wife Julia remained Galveston for at least another two years, making the local news again in 1887. It is at this point that I discovered Julia was also an artist. It is quite convenient that her initials were the same as her husband’s Julia C. Evans. March 20, 1887, “The Galveston Daily News” reported, “Photo painting on glass taught for $3. Printed directions and complete outfit going 24 pictures sent to any address for $5. Groups of any size painted by Mrs. J. C. Evans, next to Casino Hall. Orders can be left at J. E. Mason’s, L. C. Levi’s and Rose & Schmedling’s Photograph Gallery”.
Tracking her husband proved to be much more problematic in the late 1880s. Both Charles Evans and John Evans periodically pop up in the Chicago City Directory, each listed as painters in 1889. Then they disappear until 1896. On March 19, 1896, “The Chicago Chronicle” announced, “John C. Evans of New Brunswick, N. J. is at the Auditorium” (page 6). If “Auditorium” were not in the announcement, I would be skeptical.
The 1900 US Federal Census confirms this address. John C. Evans is listed as a scenic artist in the Chicago Directory by 1898, living at 504 Van Buren Street, at this address for the next two years. In 1900, the US Federal Census confirms this address. His household includes his wife Julia and a servant named Alma Anderson. Information listed in this census is a little scrambled. In this public records. For example, Evans lists his birthplace as “at sea,” Jan. 1840. The birthplace of his parents has been swapped; now his mother is born in England and his father is born in Spain.
John C. Evans Jr. is also living at 504 Van Buren with his wife (Nellie), two children (Milton and Charlotte), and sister-in-law (Maggi). Evans Jr. lists his birthdate as Jan 1864, Texas. His wife Nellie was born in Wales, January 1877. Their two children, Milton L. (3) and Lottie (7 months) were both born in Illinois. Their household also included Maggi Thomas, Nellie’s 20-yrs.old sister. In 1910, Evans Jr. was working as a bookkeeper in an undisclosed industry. Evans Jr. had been living in Chicago for quite some time. In 1891, John C. Evans Jr. was listed in the Chicago directory as a clerk, working at 46, 5 Wabash Ave, and living at 61 Pearce. By the end of the 1890s, Evans Jr. was again living with his parents are 504 W. Van Buren, working as a bookkeeper. In 1901, Evans Jr. is living up the street at 516 W. Van Buren.
All the Evans were still in Chicago during the 1910 census report. Evans Sr.’ and Julia are now living at 503 Claremont Avenue, Evans is listed as a scenic artist. His birthplace is listed as “Spain” with the note “A Cit.” for “American Citizen.” The report lists that they have been married for 49 years, with Julia having given birth to only one child: one child still surviving. Evans Jr. and his family are living at 2712 Gladys St. IN Chicago.
Evans passed away on Feb. 23, 1915. I have yet to identify any obituary or article that mentions his death. As I mentioned at the beginning, there are two death records with conflicting information. Both list the name of the deceased as John Evans, each were born in 1841, and each died on Feb 23, 1915, in Cook County, Illinois. One states that the deceased’s occupation was “scene painter” and the other lists “house painter.” One lists birthplace as Italy and the other Cuba. Both records indicate that the bodies are buried in Forest Home Cemetery. It is possible that he was living two lives, but both of his wives would have been named Julia.
After her husband died, Julia lived with her son and his family; they were also living in Chicago at the time. They were still living together at the time of the 1920 US Federal Census. At the time, their household included John C. Evans Jr. (55), Nellie Evans (42), Milton Evans (22) and Charlotte Evans (20). Their household is located at 2720 Jackson Blvd. Grandson Milton Lewis Evans was working as a commercial artist.
Julia passed away on April 14, 1924. Her last residence was listed as 2720 Jackson, Blvd. She was buried on April 16, 1924, in Woodlawn Cemetery.
John C. Evans Jr. remains in Illinois, passing away on March 8, 1952. His obituary was published in the “Chicago Tribune” on March 10, 1952: “John C. Evans of 3305 Jackson Blvd, formerly of Clarendon Jills, Ill., beloved husband on the late Nellie Evans, father of Milton L. and Mrs. Charlotte La Nove, grandfather of six, great-grandfather of seven. Services Tuesday, 1:30 p.m. at chapel, 3159 Jackson boulevard, at Kedzie. Interment Woodlawn. Member of Blarney lodge, No. 271, AF&AM, and honorary member of Hinsdale lodge AF & AM Kedzie” (page 59).
George W. Dayton Jr. was the first-born child of scenic artist George Washington Dayton and Julia A. Sails born, born in 1862. He followed in his father’s footsteps; first, working as his father’s assistant and later as a full-fledged scenic artist. He was born and raised in New York. Watching first-hand as his father gained a local, regional and national reputation as a scenic artist. During his formative years in New York, Dayton Sr. worked at a variety of venues, including Grand Opera House. The 1870 US Federal Census listed the Dayton household as including George W. Dayton (35 years old, painter), Julia A. (31 yrs. old). George W. Jr. (8 yrs.) and Charles E. (4 months old, born in Feb.). Sadly, Charles passed away that same year; an event that must have been traumatic for his older brother. Another sibling would not be born for another four years. By the time his younger sister Florence arrived in 1874, George was already 12 yrs. old. By this age, many young boys entered apprenticeships. It would have been unusual for Dayton Jr. to not work as an assistant to his father at this point. Some of his early tasks would have been making glue, mixing colors, swiping down palettes, cleaning buckets, and sweeping up the paint area.
The Dayton family moved to California in 1876, and by 1878 Dayton Jr. was listed in the San Francisco Directory as a scenic artist at Baldwin’s Theatre. By this time, he was sixteen years old. His father’s scenic art works constantly made the news, praised in a variety of local papers. Whenever Dayton Jr. was mentioned in an article, he was still referred to as an “assistant”; a title that would remain constant for almost a decade. This was how the apprenticeship system worked. “Pot boys” eventually became scenic art assistants, before being given a palette of their own. Once they were allowed a palette, they became full-fledged scenic artists and were assigned their own assistant. It would have been unusual if Dayton Jr.’s training did not follow this pattern. If anything. Dayton Jr. may have remained his father’s assistant for longer than necessary, if he proved to be a good one. It may have been difficult to break away from his father and strike out on his own in the scenic art field.
Dayton Jr. was first listed as a scenic artist in the 1878 San Francisco Directory: “Dayton. Geo W. Jr., Scenic artist Baldwin’s Theater, r. 11 O’Farrell av.” At the time, he was living with his parents, with his father also listed as a scenic artist at Baldwin’s and also living on O’Farrel av.. He continued to be listed as a scenic artist in 1879 (Dayton, Geo W. Jr. scenic artist Baldwin Theater, r. Brooklyn Hotel) and 1880 (Dayton, Geo W. Jr. scenic artist Baldwin Theater, r. Brooklyn Hotel).
Between the summers of 1879 and 1880, the Dayton family relocated from California to Illinois, settling in Chicago. Dayton Sr. had secured employment at Hamlin’s Opera House.
On August 15, 1880, the “Chicago Tribune” mentioned both Daytons painting scenery for Hamlin’s Grand Opera House. The article announced, “Mr. George W. Dayton, the scenic artist at the new Grand Opera House (Hamlin’s), began his labors last Monday, being assisted by his son.” On September 5, 1880, the “Chicago Tribune” listed both father and son as part of the backstage staff: “George W. Dayton, scenic artist; George W. Dayton, Jr. assistant.” They were again mentioned in another “Chicago Daily Tribune” article on that same day (page 16). The article reported, “The principal officers of the house will be John A. Hamlin, Manager; William H. Davis, associate manager; George W. Dayton, scenic artist; George W. Dayton, Jr., assistant…”.
1880 US Federal Census listed George W. Dayton Jr. living with his parents and two younger siblings. Both he and his father were listed as artists. Despite working in Chicago, the Daytons maintained two homes: one in Chicago and one in Harmony, Maryland. In the census report, George W. Dayton Sr.’s occupation was listed as “Artist Oil,” with George W. Dayton Jr.’s occupation listed as “Artist App.”
By 1883, only one Dayton was listed in the New York City Directory, listed as an artist and living at 766 Ninth av. By 1884, father and son were accepting individual projects in the east. Each began going by George W. Dayton, often without the distinction of Jr. or Senior. Both were listed as painters in the Brooklyn Directory, living approximately six miles apart. Dayton Jr. was listed living at 28 Whipple; his father was at 133 22nd .
In 1885, work brought at least one George W. Dayton back to the main studio of Sosman & Landis in Chicago. Both were in Chicago that year, however, as each exhibited artworks at the 1885 Scenic Painter’s show. Both Dayton Sr. and Dayton Jr. were involved in the event, listed as part of the planning committee. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4). Both Dayton’s were also mentioned in John Moran’s article about the event, published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Moran wrote,” “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr.” Dayton Jr. was mentioned again on Oct. 5, 1885 in the “Detroit Free Press” (page 5). He was listed as a contributor to the “first exhibition by the American Scenic Artists, now in progress at Chicago.” George Dayton Jr., “of Albany”, was listed alongside Matt Morgan, John Rettig, Thomas G. Moses, C. E. Petford, R. Merryfield, James Hamilton. Walter Burridge, Earnest Albert, John Howell Wilson, and L. Malmsha.
It was also in 1885 that Dayton’s mother, Julia, passed away. I have yet to locate her death certificate, so I am uncertain as to whether she passed in New York or Illinois. Dayton Sr. remarried; his second wife was Mary McCarty. Dayton Sr. and Mary went on to celebrate the birth of three children: Irvin W (July 1888), Eugene H. (July 1891), and Oscar V. (Sept. 1897).
During this time, both Dayton Sr. and Dayton Jr. are working as scenic artists in both Chicago and New York. They are each listed in the Brooklyn Directory for 1889; albeit at separate addresses. George Dayton Sr, was still at his 1884 address – 133 22nd . George Dayton, Jr., was living at 203 Varet St.; almost seven away from his father.
It must have been difficulty, sharing the same name and profession with a father who was extremely, well-known, well-respected, and well-liked. I have yet to come across and praise that was showered upon Dayton Jr. for his scenic art. I am not hinting that Dayton Jr. was lacking in any way, but he certainly transitioned from scenic artist assistant to scenic artist under his father’s shadow. I hope that his artworks also gained recognition over the years.
On Nov. 27, 1887, Dayton Jr. married Helena “Lena” Cohen in Manhattan, New York. This was likely the same year that his father also remarried Mary McCarty.
Marriage certificate for Geo. W. Dayton, Jr. and Helena “Lena” Cohen, 1887.
In 1887 Dayton Jr. was living at 141 Easy 17th Street, with his fiancée, Helena, living at 183 Ludlow. Born in Hamburg, Helena was the eldest daughter of Fanny and David Cohen. Her father was Dutch emigrant who worked as a tailor in Manhattan. George and Helena celebrated the birth of four children: George Washington Dayton (b. Dec. 25, 1888), Arthur Vaulkan Dayton (b. April 17, 1890), Julia Agnes Dayton (b. Nov. 3, 1892), and Jerome John Dayton (b. Feb 2, 1895).
By 1889, Dayton Jr. begins working for William F. Wise’s studio in Tyrone, Pennsylvania. By this time, Dayton Jr. was about 29 yrs. old. In 1889, George W. Dayton was listed as an artist in the New York City Directory, living at 3309 E 77th.
On September 17, 1889, the “Tyron Daily Herald” reported, “Two young men named Leon Moan and George Dayton, scenic artists who have been in the employ of W. F. Wise in Tyrone for nearly three months had their room in the building of Mr. Scullin, the tailor. About a month ago they broke a large French plate mirror in their room. They promised to pay for the damage done, but last night it was discovered that they were trying to sneak away on Philadelphia Express. Mr. Sculin did not care as far as the price of glass was concerned but he deemed it right to put a quietus on such a mean trick. Accordingly, he armed officer Snyder, with a warrant and together they went to the depot for the men. The fugitives were in hiding on the hill side of the railroad, and when the train arrived, they endeavored to board without being seen. Mr. Scullin and the officer made a dash for their men and secured Dayton, but Moan succeeded in eluding his pursuers. Dayton was taken before Esquire Taylor and settled the affair by paying the damage and costs” (page 2). Not to excuse any behavior, at the time, Dayton Jr. was supporting his wife and two infant children.
Both George W. Dayton Sr. and George W. Dayton Jr. were employed by William F. Wise at his studio in Tyrone, Pennsylvania.
Regarding their employer, Wise & Co., the firm advertised as architects and artists. Like Sosman & Landis, the not only operated a main studio, but sent some of their artistic staff on the road. William F. Wise began as a finisher, living in Brooklyn in 1873, and residing at 149 Navy. From approximately 1879-1882, he worked as a painter in Philadelphia. Although later business letterheads suggest that Wise & Co. was founded in 1876, that is likely when Wise transitioned from decorative painting to scenic art. In 1888, W. F. Wise and W.B. Stewart. purchased an old church, converting it into a scenic studio. By the next year, Dayton Jr. was working for Wise, traveling from one project to the next. It remains unclear as to whether both father and son were working for Wise at this time.
By 1893, Wise purchased land for a new building. On March 15, 1893, the “Tyrone Daily Herald” announced “New Scenic Studio to be built” (page 4). The article reported, “W. F. Wise this morning purchased of Harry Wands the lot. Of ground 75×170 feet, bounded by Muncy street, the Juniata river and Bald Eagle creek, upon this plot he will immediately begin the erection of a scenic studio which will be 55×130 feet in size. Mr,. Wise has secured an advantageous location for his new building, where it will be in full view of the railroad and other approaches to the town. The transfer was consummated through the active instrumentality of W. Fisk Conrad who in knowledge of real estate and its management is par excellence. The scenic painting business of W. F. Wise & Co. has long since outgrown their present studio at the corner of Washington Ave and Twelfth Street, and crowded with orders, they have from some time been looking for larger quarters. Many tempting offers from New York and elsewhere were made them to locate in other places, but our people will be gratified to note that the present transaction insures the permanency of their business in Tyrone. It is an industry which inures to the benefit of the town. The studio is the only establishment of the kind between Philadelphia and Pittsburgh and one of the very few extensive scenic studios in the United States, in reputation standing the peer of any. W. F. Wise & Co. are known the country over for their scenic and spectacular painting, and church hall, and theatre decorations” (page 4). In 1906, the company advertised that they had 30 years’ experience and were prepared to furnish drop curtains, scenery, decorations, models (to scale), architectural plans, carpentry work, stage traps, theatrical, hardware and lighting equipment and more.
By 1889, George W. Dayton is listed as an artist in the New York City Directory, living at 330 E 77th. By 1891, only George W. Dayton, Jr. was listed in the New York City Directory, living at 324 E 85th St. In 1892, he was living at E 117th St. #513 in Manhattan when his daughter Julia was born. In 1895, the Daytons were living at W. 118th St. in Brooklyn when Jerome was born that February. They remained at 264 W 118th until 1897 when Dayton Jr. passed away after battling tuberculosis for three months.
George W. Dayton’s New York Death Certificate form 1897.
Dayton Jr. died at the age of 34 on April 5, 1897. He had been sick for three months before his passing. On April 7 he was cremated and buried at Fresh Pond Crematory and Columbarium in Middle Village, Queens County, New York. He left wife and four children, between the ages of 2 and 8 yrs. old. Lena remained with her children in New York, listed in the1899 directory as “Lena, wid George, h. 2374, 2d av.” The 1900 US Federal census listed her occupation as a candy shop worker..
Her eldest son, George W. Dayton III, briefly followed in his father’s footsteps. The 1910 US Federal Census listed 21-yrs.-old George W. Dayton working as an artist for the newspaper industry in New York City. His address was listed as 21 110th St. W, Manhattan. George was still living with his mother and three younger siblings. His aunt, Emily E. Cohen and a boarder, Daniel Ahernas, were also listed as part of the household. George’s foray as an artist did not last, and by 1917 he listed his occupation as “auto mechanic” on his WWI draft registration card. A few months later, he was serving in the Supply Dept., of the Commissary Division, in the Panama Canal Zone. Both he and his younger brother Arthur worked Panama.
Arthur V. Dayton and his wife Adelina. Arthur was the son of George W. Dayton, Sr. Photograph posted to ancestry.com.
Arthur was the first to head south in the fall of 1909, working as a clerk for $100/month. That’s the equivalent of about $3200/month today. By 1930, Arthur worked as a dump inspector in the dredging division, passing away there six year later, on July 27, 1936; he is buried at Corozal, Distrio de Panamá. Both he and his wife died the same year, leaving two daughters, ages 18 and 14; Cecilia and Carmen both moved to Texas where they each married and celebrated long lives. Dayton Jr.’s youngest son, Jerome, remained in New York his entire life, where he primarily worked as a shoe salesman and cared for his mother.
Jerome Dayton, youngest son of George W. Dayton, Jr. and Helena Cohen Dayton. Photograph posted to ancestry.com.
Their mother outlived her father by 42 years.
On Sept, 2, 1939, her obituary was published in “The Miami News”-
“MRS. HELENA DAYTON. Mrs. Helena Dayton, 69, of 46 N. E. Fifth st., died yesterday at her home after a short illness. She came to Miami from New York eight years ago. She is survived by a daughter, Mrs. Julia Munch, Miami; two sons, George W. Dayton, Canal Zone, and Jerome J. Dayton of New York. Funeral services will be held in the Flagler funeral chapel at 5 p.m. today. The body will be cremated” (page 10).
Her eldest son, George W. Dayton III, remained in Panama until 1967. Nine months before his passing, he relocated to Daytona Beach, Florida. Dayton’s obituary reported, “Mr. George W. Dayton, 79, 2418 Tulane Ave., Daytona Beach died Tuesday. A native of New York City, he moved to Daytona Beach nine months ago from the Panama Canal Zone. He was a retired security officer and a member of the National Association of Retired Civil Employes. Survivors include widow Josephine Maria; son George K, daughter, Mrs. Elsie Trofashu; one grandchild, all of San Diego, Calif.” (page 10).
The Dayton’s only daughter, Julia Agnes, married Joseph H. Munsch in New York. She was Munsch’s second wife. They moved to Miami, where Julia cared for her mother during the 1930s. Aftre her mother’s passing, the Munschs relocated to National City, California. Although I have yet to locate an exact date, Musch’s WWII draft card lists National City as his residence in 1942. Julia remained in California for the remainder of her life, passing away on July 23, 1971. She is buried next to her husband at Fort Rosencrans National Cemetery in San Diego; Joseph Munsch served as a Private in the US Army during WWI.
Julia and her mother. Photograph posted at ancestry.com
Fortunately, I am in contact with some of the George W. Dayton’s descendants, but they have yet to locate a photograph of either father or son. I have not uncovered an extant artworks by either Dayton Sr. or Jr.
While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune.” The article made me both celebrate and curse. On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. This meant that I had to track down at least thirteen more individuals to include in the Sosman & Landis staff. That number immediately increased to fourteen, as George W. Dayton, could have been either the father or son; both were journeyman scenic artists, working in Chicago at the same time.
In 1885, George W. Dayton donated $1, the same amount as all of the other journeymen artists, with exception of Thomas Moses ($2) and Henry J. Buhler ($2). Dayton donated the same amount as fellow journeyman and one-time New York scenic artist, David A. Strong. Both Strong and Dayton were around the same age, and extremely well-respected by the theatre community, each well-versed in painted illusion and stage machinery for stage spectacles.
I am starting with George W. Dayton Sr., as he came first, and we share the same birthday.
George Washington Dayton, Sr. was born on June 19, 1839, in New York. The actual location of his birth varies, with some records suggesting Greene County and others New York City. Regardless of his birth location, his mother’s family (the Tompkins) was from Greene County. She was born, raised and married in Greene County, New York. For geographical context, Greene County is approximately 54 miles southwest of Albany, New York.
George was the youngest son of John Harvey Dayton (1797-1849) and Charlotte E. Tompkins (1794-1868). At the time of his birth, his parent’s had been married for over two decades and already celebrated the birth of eight children: James Harvey (1819-1820), Daniel (1821-1823), James Lewis (1824-1891), Mary Elizabeth (1825-1826), Oscar Veniah (1827-1898), George Washington (1829-1829), John Harvey Dayton (1830-), and Julie Ann “Emma” Dayton (182-1835). In examining both birth and death dates, many of the Dayton children did not survive infancy or early childhood. Little is known of Dayton’s youth, or any moment that prompted him to seek a career in scenic art. His father passed away in 1849, when Dayton was only ten years old. Five years later, Dayton was working at the Bowery Theatre in New York City; a 15-yrs.-old scenic art apprentice. For theatrical context, this is the second Bowery Theatre; the one designed by architect John Trimble that opened on August 4, 1845. The structure lasts until 1929. For geographical context, the Bowery Theatre was located on the Lower East Side of Manhattan.
I have yet to track down any early connections between the Dayton family and the Bowery theater, any tie to the theatre that may have prompted the selection of this occupation. However, the Bowery Theatre repeatedly placed want ads for scenic artists. April 9, 1856, “The New York Daily Herald” advertised:
“SPECIAL NOTICE – WANTED AT THE BOWERY theatre, a first-rate scenic artist; also a good property man. Apply, personally or by letter, prepaid, to Geo. H. Griffith, Acting Manager, Bowery Theatre, New York” (page 7). In 1856, the interior of the Bowery Theatre was featured in the Sept. 13 issue of “Frank Leslie’s Illustrated Newspaper.”
The Bowery Theatre Stage in 1856
Dayton was likely still living at home when he worked at the Bowery Theatre in 1857. His mother was listed in the New York City Directory: “Dayton, Charlotte, widow, h. 168 W. 37th.”
The Bowery lost a scenic artist the year before Dayton began there. On March 11, 1854, “New York Daily” announced that Bowery Theatre, Hamilton, scenic artist left for Australia (page 2). J. Thorne also worked at the Bowery in 1854. John Thorne was credited with painting scenery for the “Seven Temptations” at the Bowery Theatre as part of a “Grand Scenic Spectacle” of June 1855. This means that Dayton most likely assisted Thorne when he first started at the Bowery Theatre that year. In 1855, Thorne and Samuel Culbert were credited with new scenery for “A Grand Military Spectacle” (“New York Herald” 16 Aug. 1855, page 3). Thorne & Culbert had also painted scenery for the pantomime “The Enchanted Temple,” performed at the Bowery Theatre in 1854. In 1859, John Thorne was one of only two scenic and panoramic artists listed in the New York City Business Directory; the other was Oscar F. Almy.
As Dayton gained experience, he began securing employment elsewhere, working for George Christy at Dayton at Niblo’s Garden by 1857. About this same time, David A. Strong also worked at Niblo’s. By 1858, Dayton relocated to Boston where he briefly worked at the Howard Anthenaeum. In1860, he was again actively engaged at Wallack’s Theatre in New York, then American Theatre in Philadelphia.
It was during this time when Dayton married his first wife, Julia A. Sails. The couple soon celebrated the birth of their first child, George W. Dayton, Jr., in 1862. Dayton Jr. would continue in his father’s line, working as a scenic artist.
Between 1862 and 1867, Dayton worked as a scenic artist at the Grand Opera House in New York. In 1867, Dayton became associated with New York’s Broadway Theatre, credited with painting scenery for Tom Robertson’s “Caste.” Dayton continued to paint at a variety of venues throughout the region.
In 1871 Dayton returned to the Grand Opera House, painting scenery for several Augustin Daly productions. Dayton and Louis Duflocq assisted Richard Marston on several productions, continuing to work with Heister until the mid-1870s. They painted scenery at various venues throughout the region, including a production of “Macbeth” at Boston’s Globe Theatre.
However, On June 9, 1871, Dayton’s work at Pike’s Opera-House was mentioned in “The American Israelite” (page 10). The article reported, “For the past few months, it is well known to our citizens that the enterprising Mr. S. N. Pike has been remodeling his concert hall with a view to its conversion into an opera-house that might equal, if not eclipse, in beauty and elegance of finish the former structure…The scenic artist is Mr. Joseph Pigott, and Mr. George Dayton, of the Grand Opera of New York, has been engaged to paint several scenes with special reference to the opening night.” Purportedly, it was James Fisk (managed of the Grand Opera House) who sent Dayton to the newly-constructed Pike’s Opera House in Cincinnati. Years later, Dayton recalled that when he arrived at Pike’s, “there was nothing but the bare wall.” Over the course of six weeks, he painted enough scenery to stage five operas. Interestingly, articles from the time note that the set pieces and wings were constructed of sheet iron.
In 1868, Dayton’s mother passed away in New York. At the time, Dayton was 29 years old; his career was taking off and he was making quite a name for himself. Her obituary simply announced: “DAYTON. – On Tuesday, March 10, Charlotte Dayton, aged 73 years, relict of John H. Dayton and daughter of Hon. Nehemiah Tompkins, of Greene County, N. Y. Funeral on Thursday morning at eleven o’clock from the residence of her son, 128th street and Seventh avenue.”
In 1869 the couple celebrated the birth of their second son, Charles E. Dayton. By 1870 Census Dayton household as including George W. (35 years old, painter), Julia A. (31 yrs. old). George W. Jr. (8 yrs.) and Charles E. (4 months old, born in Feb.). Sadly, Charles passed away the same year.
In 1872, Dayton was listed as an artist in the New York City Directory, living at 274 W 19th.
In New York, Dayton was also associated with Niblo’s Garden Theatre. This association was mentioned after a riding accident made the newspapers. On Aug. 24, 1874, “The Brooklyn Union” reported, “Mr. George W. Dayton, scenic artist of Niblo’s Theatre, Miss Margaret Clinton, and actress, Dr. Spier, and his wife of New York, visited Cypress Hills yesterday. While the carriage in which they were riding was descending one of the steep paths in the cemetery, a portion of the harness broke and the horses became frightened and ran away. The carriage was upset near the entrance and the driver and all the occupants were thrown out and sustained more or less serious injuries.”
This same year the couple celebrated the birth of another child, Florence Estelle Dayton (1874-1955). Florence was born in Flatbush, Long Island, New York. A section of her obituary notes her lineage: “Florence E. Dayton, born September 19, 1874, at Flatbush, Long Island, was descended from an old family who first settled in this country in 1629. Her grandfather, Jonathan Dayton, was the youngest signer of the Constitution of the United States, and her great uncle, Daniel Tompkins, was twice Governor of New York State and Vice-President under President Monroe.” This is not accurate, as her grandfather was born in 1797. I have yet to verify any connection to Johnathan Dayton (1760-1824), the 26-yrs.-old signer of the Constitution from New Jersey.
In 1875, Dayton was credited as one of the scenic artists credited with painting scenery for Charlotte Cushman. Her farewell performance at the Globe Theatre on May 15, 1875, listed George Heister, George W. Dayton and Joseph Schnell as scenic artists, as part of the executive staff.
As with many scenic art families, the birth of each Dayton child helps track the family’s travels. Sometime between the birth of Florence and the birth of Arthur, the Daytons moved from New York to California. By 1876, the Daytons relocated to California. Arthur B. Dayton was born in San Francisco that year. At the time, Dayton Sr. was listed as the scenic artist for Baldwin’s Academy of Music (also known as Baldwin’s Theatre). The remained in the area for three years. During this time, Dayton Jr. began assisting his father. In 1878, George W. Dayton, Jr., was also listed as a scenic artist at Baldwin’s Theatre, working as an assistant to his well-known father.
Geo. W. Dayton worked as a scenic artist at the Baldwin Theatre in San Francisco.
Dayton Sr. was making headlines in 1878 and was featured in “The Footlight,” a San Francisco Journal. The article about Dayton Sr. provides an abundance of details about his career up until this point. His portrait was included with the article and remains the only known image of the artist.
“The subject of our illustration, Mr. George Washington Dayton, whose scenery of Joaquin Miller’s California Drama, “The Danites,” lately produced and now being performed at Baldwin’s Theatre, has brought him prominently before the San Francisco public, belongs to a family of artists. His brother, Oscar V. Dayton, was scene painter for Maguire in 1849 and ’50, and may be said to have been a pioneer scenic artist in California. Old ‘49ers can remember with what pleasure the stage pictures, made to illustrate the plays, produced at the Jenny Lind Theater were viewed.
One of the most celebrated American scenic artists, Minard Lewis belongs to a branch of the Dayton family, being to George W., whose style closely resembles that of Lewis.
Possess of inherent and natural abilities to become eminent in his profession, Dayton has been quite fortunate in the school wherein he has gained knowledge and experience. At the age of 15, in 1855, he was employed at the Bowery Theatre, New York, then under the management of Messrs. Eddy and Johnson. In 1856 and ’57 under the direction of Mr. Lehman, he assisted in the production of the ‘Red Gnome’ and ‘Green Monster’ series of pantomimes by the Ravels, probably the most gorgeous spectacle of the kind ever brought out in the United States. In the same year, Dayton painted scenery for George Christy, next or to Niblo’s, and in the following year, 1858, we find him at the Howard, Boston, for a short session of six months, under engagements to J. M. Nixon. Returning, however, to New York, he was engaged in1860 at the Broadway Theater (then named the Wallacks) thence for a short season to Philadelphia at the American Theater, and back again to the Broadway Theater, New York under manager Wood and Barney Williams; from there to the Grand Opera House, managed by James Fisk, where he remained five years, and was sent by him in 1867 to Pike’s Opera House, Cincinnati. When Dayton commenced work at Pike’s Opera House, there was nothing but the bare walls and in six weeks he had scenery sufficient for the production of five operas, the set pieces and wing boards being painted on sheet iron. The Fisk engagement was followed by one of one year under Augustin Daly, as the Globe Theater, Boston, which brings his dates to 1875. From there he went for short season to Concord, N. H., where Tom Maguire the shrewd manager of Baldwin’s, who always keeps track of all kinds of first-class talent, until a favorable opportunity of securing it occurs, found and imported him expressly for Baldwins theater. The result has fully justified Maguire’s good judgement. Theater goers are familiar with the work Dayton has placed on view since his advent at Baldwin Theater and those possessed of aesthetic taste readily recognized the hand of a master craftsman. The modesty of the artist prevents his asserting his just claim to recognize.”
Th article is a remarkable compilation of events, constructing Dayton’s scenic art career from 1856-1878. This, combined with other historical records, give a detailed account of Dayton’s travels.
The Dayton’s were still living in San Francisco the following year. Dayton was still associated with the Baldwin Theater, but was also painting for the Grand Opera House. On April 9, 1879, “The San Francisco Examiner” announced, “Baldwin’s Theatre. – Another crowded house witnessed A Scrap of Paper at this place last evening. The play was admirably produced and the actors, with one or two exceptions, filled their roles to the entire satisfaction of all present. Mr. Dayton, the scenic artist, has surpassed all his previous efforts by the second and third scenes of the play. The formerly is arranged, and we understand that the articles on the stage used in the ornamentation are valued about $6,000” (page 3). On May 5, 1879, “The San Francisco Examiner” listed George W. Dayton as the scenic artist for ‘Aida’ at the Grand Opera House (page 2).
On August 16, 1879, “The Pacific Bee” mentioned Dayton in an article entitled “Stock Speculations” (page 2). The article announced, “He is interested in the actors’ mine known as Uncle Same, at Bodie, and has also bought a large farm in Maryland, where there will be quite a theatrical colony, since Lewis Morrison, Dayton (scenic artist) and many others have purchased land in the same district” (page 2). They kept a home in Harmony, Caroline County, Maryland in 1880, the US Federal Census listed the Dayton family in Harmony. The census was taken on June 3, 1880. George W. Dayton Sr. and Jr. were both listed as artists. Other members of the Dayton household included: his wife, Julia Dayton; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). The 1880 US Federal Census listed the Dayton Household in Chicago too, and including: head of household, George W. Dayton, Sr.; his wife, Julia Dayton; his eldest son, George W. Dayton, Jr.; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). Both Sr. and Jr. George W. Dayton worked as artists. The census listed both George W. Dayton Sr George W. Dayton Jr. as artists.In both census reports, Dayton Sr. was listed as 35 years old, and Dayton Jr. was listed as 19 yrs. old. In fact, Dayton Sr. was 41 years old. Daytons work in Chicago makes sense. This is the same time that Sosman & Landis began to expand their scenic art staff. Sometime between 1878 and 1880, Dayton relocated his family east, both he and his son continue to work as scenic artists.
Between the summer of 1879 and the summer of 1880, the Dayton family relocated with Chicago. Dayton Sr. was soon featured in the Chicago Tribune.
On August 15, 1880, the “Chicago Tribune” reported:
“Hamlin’s Scenic Artist.
Mr. George W. Dayton, the scenic artist at the new Grand Opera House (Hamlin’s), began his labors last Monday, being assisted by his son. As very much of the success of the new theatre will depend upon the efforts of Mr. Dayton, a short sketch of his career as an artist is appended. Mr. Dayton comes from a family of artists, his brother, Mr. Oscar V. Dayton, having been the first artist in Maguire’s ‘Jenny Lind.’ Theater in San Francisco in 1849. Minard Lewis, recently deceased, was his cousin. Possessed of inherent abilities for his profession, Mr. Dayton has gained great knowledge and proficiency. At the age of 15 he was first employed at the Old Bowery Theatre, New York, then managed by Eddy and Johnson. In 1856 and 1857 he assisted in the production of the “Red Gnome” and the “Green Monster,” under the direction of Mr. Lehman. These painted pantomimic spectacles, which introduced the celebrated Ravel family, were at that time considered the most gorgeous ever produced in America. In 1857 he also painted the scenery for George Christy’s Minstrel Hall, next door to Niblo’s. In 1858 he went to the Howard, Boston, then under the management of James M. Nixon. In 1860 he returned to New York, engaging at the Broadway Theatre (then named Wallack’s). Thence he went to the American, Philadelphia, but returned to the Broadway when Wood and Barney Williams assumed its control. From Broadway he went to the Grand Opera-House with James Fisk, where he remained five years. Going to Cincinnati during that time to fit Pike’s Opera House with a stock of scenery. After the Fisk engagement he went to Boston with Augustin Daly as artist for the Globe Theatre. Mr. Dayton was then sought by manager Tom Maguire for Baldwin’s magnificent Academy of Music, San Francisco. Mr. Hamlin secures him direct from the last-named house.
Mr. Dayton is unknown to Chicago, but when it is understood that the scene for McKee Rankin’s “Danites,” which have so often received praise here, were originally designed by Mr. Dayton, there will be a favorable opinion of his merits as an artist. He was complimented with a call for each scene when they were first disclosed at Baldwin’s Theatre. There is no mean praise, coming as it did from the forty-niners themselves.
Mr. Dayton will have a new drop-curtain ready for the approaching opening of the new house.”
Both Hamlin and is son were also working as scenic artists at the new Grand Opera House. On September 5, 1880, the “Chicago Tribune” reported that “the entr’acte curtain has been painted by Mr. Dayton” (page 11). Later in the article, Dayton was again listed as part of the backstage staff: “George W. Dayton, scenic artist; George W. Dayton, Jr. assistant; John Foust, machinist; John Dolan, master of properties.” Dayton was mentioned in another Chicago Daily Tribune” article on that same day (page 16). The article reports, “In the way of a drop curtain a new departure has been made, one of a dark crimson cloth, with deep Roman fringe, having been chosen, while an entr’acte curtain has been painted by Mr. Dayton…The principal officers of the house will be John A. Hamlin, Manager; William H. Davis, associate manager; George W. Dayton, scenic artist; George W. Dayton, Jr., assistant…”.
However, George W Dayton Sr. and Jr. are counted in the 1880 census twice. The same happened in 1900.
On Oct. 2, 1880, the “Chicago Daily Telegraph credited George W. Dayton as painting scenery for T. W. Keene (p. 4). The article reported, “The plays in Which Mr. Keen has the honor to make his stellar debut in Chicago will be produced under the immediate supervision of the veteran Charles Webb, of Drury Lane Theatre, London. New and brilliant scenery by George W. Dayton.” I am relatively certain that the article is referring to Dayton Sr., despite the fact that he was continuously assisted by his son. In 1880, Dayton Sr. is 41 yrs. old, and Dayton Jr. is 18 yrs. old. Five years later, it was a different story. Age and experience in Dayton Jr.’s part brings his name into play.
Both Dayton and his son continue to paint scenery in both Chicago and New York. By 1882, Dayton Sr. is associated with New York’s Standard Theatre, where he worked alongside Phillip Goatcher, G. Heineman, John Mazzanovich and J. W. Rough. In 1883, Dayton paints scenery for “Michaëla,” with his son listed as an assistant. Other New York shows include painting with Mazzanovich to deliver scenery for “The Rajah” at Madison Square Theatre in 1883. The following year Dayton painted scenery for “Sea of Ice” with William Voegtlin and his son at the Buffalo Academy of Music. On September 9, 1883, “The Philadelphia Times” announced, “The scene in the Polar regions, which has been painted by George Dayton, the scenic artist at the Union Square Theater, for “The Sea of Ice,” to be presented at the Walnut, has been made from drawings furnished by an old arctic explorer. It is described as very novel and effective” (page 3).
In 1884, both Dayton Sr. and Jr. were listed in the Brooklyn City Directory:
George Dayton, painter, h. 28 Whipple
George Dayton, painter, 133 22nd.
The George Dayton at 133 22nd would retain this address until 1898, suggesting that this was the address of Dayton Sr; Dayton Jr. passed away in 1897.
In 1884, Dayton is working in Hartford, Conn. At the Opera House. On July 30, 1884, the “Hartford Courant” reported:
“WELCOME IMPROVEMENTS.
When the entertainment season at the opera house reopens, a few weeks hence, the patrons of this place of amusement will observe and appreciate many improvements. Just now the stage is piled up with work benches and the paraphernalia used by scenic artists and stage carpenters, and on every hand sections of scenery are stacked in confusing order. High upon the wall back of the stage, on an improved platform, scene painters are working on the new drop curtain for the proscenium arch, which is to take the place of the green cloth curtain that had done service since the opera house was opened. The subject for the new curtain is the popular picture by Carl Becker of ‘Othello’s Story.’ The Moor leans against the railing of the Venetian balcony recounting his exploits to Brabanco, and Desdemona sits at her father’s feet a charmed listener, while in the distance, across the grand canal, loom up the Campanile tower and the church domes, just as they now do in sleepy old Venice, and as Becker believed they did when Othello was moving the susceptible heart of Desdemona. The curtain will be 45 by 39 feet square. It is being painted by Mr. George W. Dayton of the Star theater, New York, a scenic artist of considerable reputation, and whose work is known to Hartford’s theater-goers by the few sets of new scenery introduced at the opera house last season and the year before. Mr. Dayton has been at work at the opera house for the past six weeks, and among the new scenes that he has painted are a mediæval castle gateway, hemmed in with battlement walls; an interior prison scene – very effective in drawing and perspective; a street scene specially adapted for pantomime tricks; a baronial chamber of the Norman period; with its stone walls and tapestries; and attic scene, and others of minor nature. All these scenes have the necessary border drops and wings. The auditorium of the theater has been renovated and freshly painted and the entrance from Main street is made more inviting by a fresh coat of paint. Mr. Roberts is to be commended for giving his opera house these new touches, and he will no doubt reap a compensating patronage from them” (page 2).
In 1885, Dayton and his son primarily work and exhibit their fine art in Chicago. This is what makes the 1885 Sosman & Landis staff list difficult to interpret. In 1885, Dayton Sr. had been working as a scenic artist since 1856. His son had been listed as a scenic artist since 1878. Although Dayton Sr. Had much more experience, 29-yrs.-old Dayton Jr. was also a journeyman artist. Both were listed in the Scene Painter’s show of 1885. Dayton Sr. and Dayton Jr. were even part of the planning committee. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4). Both Dayton’s were also mentioned in John Moran’s article about the event, published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Moran wrote,” “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr.” I would suspect that BOTH George Dayton Sr. and George Dayton Jr. were part-time employees at Sosman & Landis in the mid-1880s. During this time, Sosman & Landis also ran a branch office in New York. Many of their employees shifted between the two regions; heading wherever their skills were needed. Such was the case with Dayton Sr. and Dayton Jr. By 1885, they had consistently worked together since 1878. It seems unlikely that only father or son would work at Sosman & Landis, as they worked as a pair.
On April 15, 1885, the “Buffalo Morning Express” mentioned Dayton’s continued scenic art work in New York (page. 5): “Mr. J. C. Rother, who ranks among the foremost portrait artists of Buffalo, had not yet moved to New York, as has been stated. On his recent visit to New York, he made arrangements with Mr. George Dayton, the celebrated scenic artist, formerly of the Standard and Star Theatres, New York, whereby he is enabled to furnish scenery for theatres and halls from the cheapest to the most elaborate and artistic. Mr. Rother has moved his studio from the Austin building to his old stand, No. 366 Main Street, so that he can personally supervise his sign and decorative establishment, and will also continue his portrait painting, Mr. Rother’s abilities as an artist are too well known to need further comment. If he goes to New York to live it will not be until autumn, and in the meantime, he will receive orders for portraits as heretofore.”
It was in 1885 that his first wife passed away. He remarried two years later. His second wife was Mary McCarty (1866-1931). The couple celebrated the birth of three of whom survived infancy. Their children were Irvin W (July 1888), Eugene H. (July 1891), and Oscar V. (Sept. 1897).
In 1887, Dayton was again working in New York with Voegtlin and delivering scenery for “Peg Woffington” at the New York Lyceum. He was also working with George Hineman. On May 26, 1887, “The Morning Journal-Courier” announced their work at the New Haven Opera House: “Two scenic artists of acknowledged ability, George W. Dayton and George Hineman, have already arrived and begun the work of adding important improvements in the scenic department, under Manager Wall’s direction” (page 2).
In 1889, Dayton Sr. and Dayton Jr. were again living out east, each listed as a painter in the Brooklyn City Directory, with George Dayton Sr, residing at 133 22nd and
George Dayton, Jr. at 203 Varet St.; their residences located quite far apart. Dayton and his father soon began representing the William F. Wise studio in Tyrone, Pennsylvania.
On September 17, 1889, the “Tyron Daily Herald” reported, “Two young men named Leon Moan and George Dayton [Jr.], scenic artists who have been in the employ of W. F. Wise in Tyrone for nearly three months had their room in the building of Mr. Scullin, the tailor. About a month ago they broke a large French plate mirror in their room. They promised to pay for the damage done, but last night it was discovered that they were trying to sneak away on Philadelphia Express. Mr. Sculin did not care as far as the price of glass was concerned but he deemed it right to put a quietus on such a mean trick. Accordingly, he armed officer Snyder, with a warrant and together they went to the depot for the men. The fugitives were in hiding on the hill side of the railroad, and when the train arrived, they endeavored to board without being seen. Mr. Scullin and the officer made a dash for their men and secured Dayton, but Moan succeeded in eluding his pursuers. Dayton was taken before Esquire Taylor and settled the affair by paying the damage and costs” (page 2).
By 1889, George W. Dayton is listed as an artist in the New York City Directory, living at 330 E 77th. By 1891, only George W. Dayton, Jr. was listed in the New York City Directory, living at 324 E 85th St.
In 1891, the Dayton family lived in Pennsylvania, as a son, Eugene was born in Philadelphia that July.
From 1892 to 1894, the Daytons lived in New York, as “George Dayton, artist,” was listed in the directory, living at 513 E 117th St.
In 1894, Dayton’s past affiliation with Wallack’s Theatre in New York was mentioned in various newspaper articles about Henry Arthur Jones’ touring production of “The Silver King.” On Dec. 7, 1894, “The Clinton Register” reported that “All of the beautiful scenery for which the ‘Silver King’ is famous, is carried completed and was painted by George Dayton, former scenic artist of Wallack’s theater in New York” (page 2). On Oct. 16, 1895, the “Argus and Patriot” advertised the show at the Blanchard Opera House in Montpelier, Vermont. It noted, “All of the beautiful scenery for which ‘The Silver King’ is famous is carried complete, and was painted by George Dayton, former scenic artist at Wallack’s Theatre, New York” (page 3).
Interestingly, in 1896, the former residence of George W. Dayton was mentioned in the “Brooklyn Citizen” (2 Aug. 1896, page 23). The home and grounds were described in great detail. The article reported, “Patrick Ford lives on the Coleman place, now called ‘Dayton’s’ because it was once owned by George W. Dayton, the scenic artist, who during his occupancy of the place entertained some of the stage celebrities of the times.”
In 1897, however, both Dayton’s were listed in the NYC Directory:
Dayton Geo W artist h 1088 Park av
Dayton Geo W artist h 264 W 118th
That year, Dayton Jr. died of tuberculosis laryngitis at 34 yrs. old on April 5, 1897. He had been sick for three months before he passed. Dayton Jr. was buried in Middle Village, Queens, New York, he left a 2 yrs. old son (Jerome J. Dayton) and five-yrs. old daughter (Julia Agnes Dayton) daughter. Dayton Sr. had only a little time to grieve the passing of loved one. Three weeks later, he was bas at work. On April 28, 1897, the “Tyrone Daily Herald” of Tyrone, Pennsylvania, reported, “George W, Dayton, the veteran scenic artist, with a. corps of assistants, has begun work upon the extensive scenery to be used by the Harry M. Dry Pyrotechnic company in their new spectacular production ‘The Bombardment of Fort Sumter or the Siege of Charleston,’ which will be ready for presentation on the road in a few weeks. Altoona is anxious to be the first city to witness this gorgeous pyrotechnic festival, and it may be that the season will be opened there” (page 4).
Dayton Sr. had relocated to Tyrone. This move was recalled by his son, Oscar Dayton, years later. On Dec. 22, 1976, the “Tyrone Daily” published an article about the loss of the Wilson Theatre, entitled “The Curtain Comes Down” (page 6). Much of the artist focused on George W. Dayton, Sr.:
“Oscar Dayton’s father was a member of the Wise Studio, and a superb painter. Originally from New York City, the elder Dayton was employed by a very industrious organization of that city as a scenic painter and artist. When the Wise Studio came into being during the 1880s, George W. Dayton was contacted by Wise to come to Tyrone and further his professional technique by joining Wise’s staff in his studio on 12th street. The offer was accepted, and the Dayton family moved to Tyrone, where living conditions were less expensive than the larger, metropolitan areas, and, yet, the wages were most attractive. George W. Dayton continued his profession until his death in 1908. The Wise studio was a very busy establishment, painting scenery for theatres over a vast area. In fact, orders were well ahead of the work and became so prominent. That Wise drew in professional painters from many large cities.”
Oscar Dayton reminisced, “Ten professional painters worked from dawn to dark. It was a tremendous business, since scenery was an exclusive part of stage settings, and was in constant demand.”
George Dayton Sr. and the Wise Studio made headlines again in 1993. On July 24, 1993, the “Tyrone Daily Herald” published an article on the renovation of the oldest building in Tyrone (pages 1-2). On the second page of the article, the history of the building was examined: “The Woodshop building, which looks similar to a big old red barn, has a long history in the community, being the oldest building now standing in the borough. Built in 1855 it was first used as a church by the former United Brethren Congregation (now First United Methodist Church), and later became a Civil War hospital. The next occupancy of the building came in the form of scenic artists and a theatrical studio for W. F. Wise Co. and for George Dayton. Eventually Miller Brothers (Hardware) used it for storage for about sixty years, selling it to Lee Wertz, who also used it for storage. Mr. Anderson purchased the property in 1992 with a goal of restoring the building and using the second floor for his custom woodwork shop. Among his talents, Mr. Anderson makes moldings for other people restoring buildings.” The building stands at the corner of 12th Street and Washington Avenue. It was the theatrical posters uncovered during Anderson’s restoration that brought this building into the public eye again. On Feb. 27, 1993, the “Tyrone Daily Herald” reported, “Some pulley fixtures used for lifting scenery were found on the second floor. They were unique because of the four cut-out heart designs on each side of the pulleys. Samples of wall covering in which old wall paper was used as the canvas have been given to the historical society” (page 1). Here is a link to a photo gallery for Tyrone’s Oldest Building: https://tyronesoldestbuilding.com/gallery/
Additional research revealed that in 1888 the church building was sold to W.F. Wise and W.B. Stewart. The building was again sold in 1895 to A.A. Stevens and it would never again be in a position of importance to the community until it became the oldest building in Tyrone. After the purchase of the building by A.A. Stevens in 1895, it changed hands 11 more times.
On Feb. 24, 1898, the “Tyrone Daily Herald” included two articles about Dayton. The first was a letter written by Dayton entitled “A Strong Team” (page 4). It reported, “After frequent solicitations of a number of my friends who wished me to teach the art of drawing and painting in their several branches, I write this to all those who wish to take lessons, that I have associated myself with the Penn Art Co. school as one of their instructors and will faithfully do my part to educate all pupils who study with me, and if they will prove as studious and apply themselves on their part, they will have no cause to complain; attentive pupils will certainly attain such progression that they will be more than pleases with their venture. – Geo. W. Dayton.”
The second article reported, “The fine suite of rooms comprising the second floor of the First National Bank building is now occupied by the Penn Art company, of which M. D. McOmber is manager. The four rooms have been newly papered and renovated, presenting an attractive appearance. The front rooms will be occupied as the main office and clerical department, and the rooms facing Tenth street will be devoted to the teaching departments in charge of George W. Dayton and William H. Kellogg. The Penn Art company have for a long time been negotiating with some of the well-known artists of the country and have finally secured the services of these two experienced artists, who are known throughout the United States, and their paintings have been recognized and acknowledged by the artists of the world as masterpieces. As experienced teachers they probably have no superiors” (page 4).
Dayton Sr. continued to be listed in the newspaper. He was mentioned in a multi-page article entitled “How a Play is Staged.” On Aug 21, 1898 the “New York Times” reported, “Scenic artists have for years used the device of model scenes – that is, they have roughly constructed a small model as guides to the carpenters in making the larger scenery’ but Josef A Physioc, the young scenic artist of the Garrick Theatre, claims to have been the first to use the miniature stage, complete in every detail, for the guidance of actors, managers, carpenters, and ‘utility’ men. The accompanying picture of the model stage, set for the first scene in ‘Tess of the D’Urbervilles,’ illustrates the miniature stage as used by Mr. Physioc…Another picture shows the model stage set for a scene in ‘Couried Into Court. These miniature scenes are constructed in the ‘model room.’ The picture shows Mr. Physioc and George W. Dayton. An ‘exterior’ painter, at work upon a sketch preparatory to transforming their idea into a model. On the walls, on the table – everywhere – are models, sketches, and the countless suggestive things that litter up the studio.” (p. 27). Dayton Sr. was noted as simply “an exterior painter.”
By that fall, the Dayton family had moved again. On October 3, 1898, the “Altoona Tribune” announced, George W. Dayton, 623 West Washington. The scenic artist, with his family has removed to Thomastown” (page 3)
Dayton Sr. was listed as still living at Park Ave., confirmed in the 1900 US Federal Census. That year, the Dayton Sr. household at 1088 Park included: Geo. Sr. (Jun 1840, 59 yrs., married 12, scenic artist), Mary (Aug 1866, 33 yrs., mother of 4), Irwin W. (July 1888, 11 yrs.), Eugene (July 1891, 8 yrs., Philadelphia), Oscar V (Sept, 1897, 2 yrs.), Florence E (Sept 1874, 25 yrs.), Arthur B. (Nov 1876, 23 yrs., California, artist), Mary McCarty (Mother-in-law, May 1843, 57 yrs., mother of 13).
They were also counted in a second census report that year. In 1900 the Dayton family was also listed as living in Snyder, Blair, Pennsylvania. The Dayton household included George, Mary, Irwin, Eugene, Oscar V., Florence, Arthur, and his mother-in-law Mary McCarty.
On March 31, 1904, the “Tyrone Herald” reported, “George Washington Dayton, Tyrone’s boss artist, Vail’s central station postmaster, and the general community’s greatest jokester was in town Monday with four telescopes, a monster magnifying glass, a double-action six shooter Colt’s army revolver and a belt full of cartridges, looking for a lot which he purchased recently and upon which he advanced one-third of the purchase money but failed to get information as to the location of the property” (page 5).
On Sept. 11, 1904, “The Brooklyn Daily Citizen” reported, “The veteran scenic artist, George W. Dayton, painted the scene for Milton Nobles’ new comedy, ‘The Days of ’49.’ In 1875, Mr. Dayton got up the first scene for ‘The Phoenix,’ when Milton Nobles came forward as a star, in the now famous play of that name. Mr. Dayton has painted nearly one-half of the cycloramas that have been exhibited in this country since the Civil War” (page 3].
George W. Dayton Sr. passed away shortly after his 80th birthday, He died in Snyder Township, Blair Country, Pennsylvania, on June 25, 1909. The cause of death was listed as “Chronic Interstitial Nephritis,” an ailment that had lasted for approximately 6 months. His occupation was listed as “artist.” Dayton was buried in Grandview Cemetery, Tyrone, Blair County, PA. His obituary was published in the “Tyrone Daily Herald on Jan. 27, 1909 (page 4). It stated:
“FAMOUS ARTIST GONE. On Monday afternoon at 8:30 o’clock, George W. Dayton, the famous scenic artist. Died at his home at Vail. Mr. Dayton had been in failing health the past years from complication of diseases and was unable to leave his home the past two months. He gradually grew worse until death claimed him at the above-mentioned time. He was a kind, affectionate husband and father and will be greatly missed in the home. George W. Dayton was born in New York City, June 19, 1839, making his age 69 years, 7 months and 6 days. Mr. Dayton was married twice. His first wife preceded him to the grave in 1885. Two children were born to this union. His second wife, Mary E. Dayton, and the following children survive’ Mrs. William Ruhe, of China, Arthur B. Dayton, New Milford, Ohio, Irving. Eugene and Oscar, at home. The funeral will occur on Thursday afternoon at 1:30 o’clock. Services conducted at the home by Rev. George T. Gunter. Interment in Grand View Cemetery, Tyrone.”
His Eulogy was also included in the article:
“Eulogy of Geo. W. Dayton. One more friend is gone, one more father less, one more familiar face missed from among us. George W. Dayton passed away Jan. 25the. He has left a vacancy in the world of painters, for he was no common craft. His hand that held the brush was of cunning skill, as he stood high among the galaxy of old school painters fast fading from our midst. Although old it be, yet it was glorious in its day, as it has pointed the way to the newer school of painters. Just as from Chaucer sprang the renaissance of English literature, so from men of Dayton’s day evolved the present school of scenic art, He painted great scenes. He put his brush to a white mass of canvas and behold, trees rustled in the breeze, mountains swam in the hazy distance, mosses clung to magnificent architecture, shapely columns and sweeping arches gleamed among cypress and cedar. His touch had magic in it; his color was sweet and harmonious – never jarring or gaudy. An artist who stands high in his profession, said to me not long ago, ‘If I could handle the difficulties of scenic art as Dayton once did, I should consider myself a master.’ One of the charms of Mr. Dayton was his unfailing cheerfulness. His life had its ups and downs, its smiles and tears, but through all, he never changed. In my long association with him I never heard him condemn. ‘If you can’t speak well of anyone, hold your tongue,” was his oft-repeated advice. He was born in New York city considerably over a half century ago. In his early youth he showed decided talent for his chosen profession. There is much that is somewhat obscure in his early days. A hint or two he let drop led me to believe that his first venture was a turn in a circus, but of this I am not sure. The first definite knowledge we have of him was when he was about eighteen years of age. Then owing to the undoubted talent he displayed he was installed as a scenic artist of the old Bowery theatre in New York. This position he filled for three or four years. When his marked ability became apparent, his services were in demand. After a prosperous career here, he was offered an engagement in the principal theatre of San Francisco, his salary being among the highest in those days, paid in gold. He, owing to his genial disposition and talent, was presented with a handsome gold watch in token of esteem. All artists are more or less nomadic; so later we find him holding positions in many of the principal cities of the country. He was in Chicago immediately before he came to Tyrone. About twenty years ago he became a member of the corps of artists in the studio of Wm. F. Wise & Co. Many remember some of the drop curtains he painted and how his ability was felt by all. Now his eventual life is ended. When he lay upon his bed of death, his hands clasped by two of his friends, he looked up at us and with a flicker of his old time smile, joked even then, and after a pause, he turned to his wife and said, ‘I do not fear death.” There was no pain and he passed on a few days later into a calm and peaceful sleep. -A friend.”
On November 30, 2022, I received a FB message from Robert Van Dillen, a St. Louis-based scenic artist. He asked if I would consider being guest speaker for an upcoming scenic art event in St. Louis, tentatively scheduled for the beginning of 2023. Van Dillen explained that there was a group of local scenic artists who wanted to see the St. Louis Scottish Rite scenery collection before the building was sold. Unfortunately, the tentative date coincided with my trip to the Galveston Scottish Rite. We looked at a couple of possibilities, and then scheduled the event to coincide with my March trip to USITT.
My last visit to the St. Louis Scottish Rite theatre also coincided with USITT in 2017. This is a remarkable scenery collection delivered by Toomey & Volland, of St. Louis. I spent much of the conference documenting the scenery, stage machinery, and building.
Tomoey & Volland Studio stencil on the back of a Scottish Rite backdrop.
Just prior to the conference, I documented the gridiron with Rick Boychuk and Richard Nix.
High above the St. Louis Scottish Rite stage with Rick Boychuk and Richard Nix in 2017.
One of many photos from my trip to the St. Louis Scottish Rite Theatre in 2017.
On this trip, I arrived at the St. Louis Scottish Rite by 9AM on Sunday morning, March 19, 2023. I was accompanied by my close friend and colleague, Jenny Knott. Alessia Carpoca, Mike Monsos, and Martha (University of Montana – Missoula) soon joined us, as they had an early flight to catch; one that prevented them from staying for the entire presentation. From 9-10:30 a.m., we shifted furniture, set up the power point, and double checked the lines. I wanted to make sure that everything was in working order for my presentation. This also provided Mike, Alessia, and Martha, with the opportunity to see some of the drops before their early departure. I am very grateful to Mike for handling the operating lines during this time!
At 10:30 a.m., I gave a quick power-point presentation to provide some context, placing what we were going to see within the context of American scenic art and theatre history. By “quick” I mean thirty minutes! Then we brought in one scene after another for the next three hours. By 2 p.m. I called it quits, due my impending flight and grumbling stomach. We grabbed a quick bit to eat and then I was on my way to the airport.
The St. Louis Scottish Rite Theatre is a sight to behold. It is a three-thousand-seat auditorium that boasts a 90’-0” wide proscenium opening.
The St. Louis Scottish Rite auditorium. Looking up into the flies at the St. Louis Scottish Rite. Scenery by Toomey & Volland Studios, c. 1923.
The size and scope of this Masonic scenery collection is almost unparalleled, with the McAlester Scottish Rite from 1929 being a major contender. There are 147 line sets, with stage machinery and scenery produced by the Toomey & Volland studio in 1923. There are a few drops that pre-date the building, a couple more that were delivered in later years.
The Scenic Studio where the St. Louis Scottish Rite scenery was painted in 1923.
Sadly, this may be the last time I get to visit and examine this remarkable scenery collection. Like many massive Masonic buildings, it is up for sale. Rumors of a sale had already begun in 2017. This is not surprising, considering a series of obstacles faced by many fraternal organizations; challenges that range from declining membership and insufficient funds to high utility bills and a long-term practice of deferred maintenance. My only hope is that when the building is sold, the scenery is somehow preserved for future generations. This collection really needs to be professionally documented, complete with lights and props, before it disappears.
Many thanks to Rob for organizing this event. I also want to thank his wonderful colleagues who so warmly welcomed me to St. Louis. I am grateful that we were able to share this experience together.
Here are a few pictures from our day at the St. Louis Scottish Rite.
A painted scene at the St. Louis Scottish Rite. Scene by Toomey & Volland Studios, c. 1923.Metallic strips that make the foliage sparkle under stage light.My host, Rob Van Dillen behind a section of theatrical gauze.Scenic artists at the St. Louis Scottish Rite. March 19, 2023.Scene by Toomey & Volland Studios, c. 1923.Changing scenes at the St. Louis Scottish Rite. March 19, 2023.A few of the scenic artists who gathered at the Scottish Rite on March 19, 2023.Scenic Artists at the St. Louis Scottish Rite on March 19, 2023.Painted detail from the carpenter shop scene at the St. Louis Scottish Rite. Landscape backdrop at the St. Louis Scottish Rite. March 19, 2023.Painted detail from a landscape drop at the St. Louis Scottish Rite. March 19, 2023.Painted detail from a landscape drop at the St. Louis Scottish Rite. March 19, 2023.Painted detail from a drop at the St. Louis Scottish Rite. March 19, 2023.The Camp Scene at the St. Louis Scottish Rite. March 19, 2023.Scene by Toomey & Volland Studios, c. 1923.
In January, I was contacted by Diane Nagy, President of the Kimmswick Historical Society. For geographical context, Kimmswick, Missouri, is a very small river town about 26 miles south of St. Louis. The Kimmswick Historical Society had recently acquired a large painting by J. U. Tschudi. Dated 1914, the artist titled the painting, “Early Days on the Mississippi River.” While searching for information about the artist, Nagy stumbled across my post about Tschudi at www.drypigment.net. Tschudi represented the Kansas City Scenic Co. in 1887. This firm was affiliated with the Sosman & Landis Scene Painting Studio in Chicago. The two firms shared projects and artists over the decades, remaining affiliates until the 1920s.
My trip to St. Louis for the United States Institute of Theatre Technology conference this month provided me with an opportunity to examine the Tschudi painting and meet Kimmswick Historical Society members. On March 18, I journeyed south, accompanied by my close friend and colleague, Jenny Knott. Diane Nagy and Nadine Garland provided shuttle service and conversation for the day. We spent most of the afternoon chatting about historical artifacts and the intriguing history of Kimmswick.
Our first stop was to see the oil painting, currently stored at the studio of Irek T. Szelag. Szelag is a Polish immigrant nearing retirement. In fact, this will be his last commission. We were joined at Szelag’s studio by a few other Historical Society members; they were curious to about hear about my knowledge of Tschudi and his work. The decision to preserve Tschudi’s work was hotly contested by half of the ten-member Kimmswick Historical Society Board of Directors, necessitating a tie-breaking vote by the president. Not everyone was keen to spend a large amount of money on this heavily damaged painting.
Painting by J. U. Tschudi at Szelag’s studio on March 18, 2023.
The Kimmswick Historical Society is a small non-profit organization that does not accept State or Federal aid. Their operating budget is obtained through donations and the sale of apple butter. The funding of every Historical Society project is translated into the sale of “jars” and “cars.” “Jars” refers to the sale of apple butter and “cars” refers to the sale of parking spots when thousands of people descend upon this small town of 146 residents for the Apple Butter Festival https://gokimmswick.com/apple-butter-festival-kimmswick/ . Each year, the Historical Society sells approximately 6000 jars of apple butter. Of this amount, 500 jars are still made on site, using a massive copper kettle over an open fire. By the way, each jar of apple butter sells for $6; a fabulous deal, considering the extensive amount of time is takes to prep, cook and can the apples.
The Kimmswick Historical Society stand at the Apple Butter Festival.Apple butter pot on display at the Kimmswick Historical Society.
Back to Tschudi’s artwork…
When I initially examined pictures of Tschudi’s painting, I was struck by his inclusion of a title and painted surround. It looked more like circus banner than an oil painting intended for a residential wall. In fact, it reminded me of early twentieth-century state displays at world fairs or other industrial expositions. Upon close inspection, I notice that the edges of the canvas had been hemmed, like early marketing banners that were intended to advertise a public entertainment. I am positive that this artwork was created to be tacked onto a wall, the side of a building, or fence; advertising some public event or spectacle.
Hemmed edge of the Tschudi painting.Title and painted frame of the Tschudi painting.
After leaving Szelag’s studio, we spent the remainder of the afternoon touring the Kimmswick Historical Society and enjoying a fabulous lunch at the oldest building in town. Designated, “The Old House” this structure was originally built in 1770. The reason for selecting tis particular eating establishment was that Tschudi’s painting once hung in a front room, near a fire place; a fireplace that never vented properly, hence the discoloration of the painting over time.
Wall where the Tschudi painting was once located in the Old House.Sketch of the Old House in Kimmswick, currently on display at the Kimmswick Historical Society.
In addition to lunch, our hosts gifted us Kimmswick Historical Society cookbooks upon our departure. It is one of the more interesting compilations of Midwest and Southern recipes that I have come across in recent year. Yes, the apple butter recipe is included too! Overall, I had a delightful time learning about Kimmswick and its history.
The Kimmswick Historical Society Cookbook includes the recipe for their apple butter.
While sitting in the St. Louis airport on March 19, I began to re-examine the life and career of J. U. Tschudi, searching for possible clues that might lead to the origin of his painting. This quest continued upon my return home. I arrived sick and began a week-long quarantine in the basement, desperately trying to keep my germs to myself. My son’s High School Orchestra was spending the first part of Spring Break in New York City. I really didn’t want him to catch this bug. Fortunately, my self-imposed quarantine provided me with an opportunity to re-examine Tschudi’s life and career. My previous post about Tschudi from 2020 was quite brief, intended as only a side story to my history about the Kansas City Scenic Company. Tschudi was associated with the Kansas City Scenic Co., working alongside B. F. Dunn and C. A. Oldham.
Here is my expanded tale about this fascinating artist and painting.
Like many nineteenth-century American immigrants, the story of Tschudi begins in Europe and ends in the Midwest. His tale could be called “From Switzerland to St. Louis,” was he passed away at 728 South Second Street, only a short walk from the Convention Center that hosted USITT. Both Tschudi and his son worked as scenic artists for the Kansas City Scenic Art Co. during the early Twentieth Century. Combined, they are responsible for hundreds of stage settings delivered throughout the United States between 1880 and 1940.
John Ulrich Tschudi was born on March 22, 1850, in Switzerland. Named after his father, he was the son of Johann Ulrich Tschudy (1822-1886) and Anna Margaretha Egli (1821-). In 1856, the Tschudi family emigrated to the United States with his family. They departed a ship named the Ocean Steed on March 22, 1856 – Tschudy’s 6th birthday. Passengers included John Ulrich Tschudy (34 yrs.), wife Ann Mary (35 yrs.), and children Cath (10 yrs.), Valentin (8 yrs.), Margaretha (7 yrs.), John M. (6 yrs.), Walter (4 yrs.), Tobias (11 mths.). Ann Mary’s father, W. Egli (59 yrs.) also sailed on the same ship. They arrived in the US on July 30, 1856, and soon settled in Burlington, Iowa. Two other Tschudy children were born after moving to Iowa- Minnie (b. 1856) and Lily (b. 1859).
I am going to take a moment to discuss historical records and reported names for John Ulrich Tschudi Sr. and John Ulrich Tschudi Jr. First of all, the family used both Tschudy and Tschudi as their surname in city directories, public records, and newspaper articles. This shift primarily occurred in the 1870s. For the purpose of this post, I will use both.
Secondly, the “U” for Ulrich was often misrepresented as an M, W, A, or even H. This is understandable when you begin to examine how a handwritten cursive capital U can look like other letters, especially in passenger lists and census reports.
To further muddy the waters, there was another Swiss emigrant named John Ulrich Tschudi/Tschudy (1828-1901) who settled in Minnesota. He is a completely different individual who has greatly confused many family genealogists. Minnesota Tschudi lived his life as a farmer, while the main characters of my story – John Ulrich Tschudi Sr. (1822-1886) and John Ulrich Tschudi Jr. (1850-1921) – who worked as a German Presbyterian Church pastor and scenic artist, respectively. With this little bit of information, here is the tale of scenic artist J. U. Tschudi.
In later years, Tschudi Jr. recounted that the Tschudi family only stayed in Burlington for two years before relocating to Memphis, Tennessee, where “he learned his business under the tutelage of his father, who was also an artist.” I can neither confirm nor disprove this statement, as evaded public record until the onset of the Civil War.
By 1861, Tschudi Sr. enlisted in the Union Army. Tschudi Sr. is listed in the “US Adjutant General Military Records, 1631-1976,” available at ancestry.com. The 1864-1864 report lists “John Ulrich Tschudy” of Burlington, Iowa, as a Private in Co. G. of the 57th Illinois Infantry. At the age of 38, he entered into military service on August 26, 1861. Co. G. rendezvoused in Chicago and was quartered at Camp Douglas. Tschudi Jr. was too young to enlist; the official enlistment age was 18 yrs. old. Again, to make things even more confusing, Minnesota Tschudi also fought in the Civil War (Minnesota Infantry, 2nd Regiment).
By 1867, the Tschudy family was living in Dubuque, Iowa. Between 1867 and 1869, Tschudi Sr. is listed as a student at the German Seminary. After completing his studies in Dubuque, In 1867, Tschudi Jr. is listed as a student. It is in Dubuque that Tschudi Jr. meets his future wife, Marguerite Merkes (1850-1931). Merkes is exactly the same age as, Tschudi Jr., was born on March 23, 1850, in Diekirch Luxembourg. Merkes was the daughter of Jean Pierre Merckes/John Peter Merkes (1811-1861) and Clara L. Abend/Abendt (1817-1895). The Merkes family emigrated from Luxembourg to Dubuque, Iowa in 1859, with John Peter Merkes passing in 1864. His widow, Clara Abendt Merkes, remarried in 1864. Her second husband was Michael Fohrman (1811-1894), also an emigrant from Luxembourg.
In 1867, Clara’s 17-yrs. old daughter, Marguerite Merkes, becomes pregnant. As an unwed mother, Marguerite is removed to Chicago where she waits for the impending arrival of her first born. On August 1, 1868, Marguerite gives birth to a son whom she names John, after the baby’s father John Ulrich Tschudi, Jr. It is important to note that the actual birth year of baby John’s birthdate vacillates over the years, ranging from 1867-1869.
Two things happen at this point; decisions that were very characteristic when a child was born out of wedlock. First, the baby is born, but then raised by a grandparent. In this case, baby John returned to Dubuque where he was raised by his maternal grandmother, Clara Abendt Merkes Forman, and his, maternal step-grandfather, Michael Fohrman. John Merkes name instantly becomes John J. Fohrman, and he is clearly listed as the son of Michael and Clara Fohrman. It is only in Michael Fohrman’s will that John J. Fohrman is listed as an “adopted son.” Despite the eventual marriage of John’s parents, Marguerite Merkes and John Ulrich Tschudi Jr., their son is never returned to their care.
In the meantime, Tschudi Sr. completes his training at the Germany Seminary in Dubuque and answers his first call in Platteville, Wisconsin (1870),where he relocates with his wife and four daughters (Margaretha, Lucy, Minnie, and Lillie). Tschudi Jr. and Marguerite remain in Iowa. In 1869, Tschudi Jr.’s occupation was listed as “cigar maker” in the Dubuque Directory; this was when he was living with his father at “Couler av bet Nineteenth and Twentieth.”
By 1872, Tschudi Sr, answers a call to ministry in Memphis, Tennessee. During this entire time, Rev. J. U. Tschudi is associated with the German Presbyterian Church. He is repeatedly listed in the newspapers. During this period, Memphis struggles with yellow fever, losing thousands of its citizens to five major outbreaks. On Oct 15, 1873, “The Central Presbyterian” of Richmond, VA, reported, “Another Bereavement – Rev. J. A. Tschudy, pastor of the German Presbyterian church in Memphis, lost his son, Walter, Oct. 6th, in his 23rd year of his age, of yellow fever” (page 2). This was part of the fourth Yellow fever epidemic in Memphis, where 2500 people passed away between Aug and Oct of that year. At the time it constituted the largest yellow fever outbreak in any inland city. A few months later, the Tschudi family is able to celebrate the marriage of Margaretha Tschudi to minister, Henry A. Grentzenberg. I have yet to locate any mention of Tschudi J. in Memphis during this time. Rev. J. U. Tschudi is last mentioned in Memphis newspapers during 1878. At the time, he was associated with the First German Presbyterian Church, located on the corner of Venice and DeSoto streets. I have yet to uncover any information that links Tschudi Jr. to Memphis. Although he likely traveled throughout the country painting scenery, he married and celebrated the birth of two children in Iowa between 1871 and 1875.
In later years, Tschudi Jr. suggested an alternative story, explaining that from 1868 to 1873 he studied art in Europe. This is highly suspect, especially since he married Marguerite Merkes in Dubuque, Iowa in October 1871 and began raising a family in Iowa by 1873. Daughter Lucy was born in the spring of 1873, with her younger sister, Minnie Lillian, arriving in the spring of 1875. Later newspaper articles about Tschudi Jr. purported, “After his school days he studied with his father and assisted him with his work and soon developed such an artistic taste in landscape painting that the father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ’I returned to America and took a fancy to large work and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad.” I have yet to locate any information that suggests his father ever worked as an artist, but you never know.
Here is what I have tracked down about Tschudi Jr.’s scenic art career; a tale compiled from city directories, historical records, and newspaper headlines.
By the late 1870s, Tschudi begins working with Cincinnati fresco artist, William Theodore Blomberg (1829-1909). Tschudi Jr. has several relations in Cincinnati, including his older sister Margaretha (Margaretha Tschudy Grentzenberg). In 1880, Tschudi and Blomberg head to Kansas, where they work as itinerant artists throughout the region that year. Blomberg returns to Cincinnati in 1881, with Tschudi remaining in Kansas.
The first line of Tschudi’s biographical listing entry in “Cutler’s History of Kansas” is “JOHN U. TSCHUDI, fresco and scenic artist, came to Kansas in July 1880.” He arrived a bit earlier than that as Tschudi is mentioned in a Kansas newspaper advertisement that June. On June 16, 1880, the “Augusta Republican” of Augusta, Kansas, reported, “Messrs. Tschudi & Blomberg, painters and frescoers are on hand according to promise and ready to do any kind of fancy work in their line at reasonable rates. Call and leave your orders” (page 3).
Tschudi initially settled in Wichita, before relocating to Emporia. His initial tie to Wichita was to the newly constructed opera house; he and Blomberg were credited with the scenery, as well as their ties to Cincinnati. They were mentioned in letter published in the “McPherson Republican” on August 12, 1880:
“Elk Falls Letter.
Elk Falls, August 9th, 1880.
Editors Republican:- Since leaving McPherson two weeks ago we have taken in the counties of Marion, Butler, Sedgewick, Cowley, Sumner, and now we are now in Elk. From Florence we ran down the Eldorado Branch to Eldorado, the county seat of Butler, and from thence to Augusta by stage. In this town, situated on the St. Louis & San Fransico line to Wichita, we were somewhat surprised to find a regular opera hall, and our surprise was somewhat increased in visiting the hall, to find everything first class. In the construction of the stage, etc., Mr. Israel Zimmerman, the stage carpenter proved himself to be a master of his profession. Messrs. Tschudi & Blomburg, the scenic artists, whose headquarters are at Cincinnati, Ohio, were completing the advertising drop curtain when we were there. They will have one forest scene, six wings, one street scene, one rustic kitchen scene, four wings; one garden and landscape scene, two wings; one prison scene, four wings, and one scenic drop curtain. The stage is arched and the arch is frescoed. The work when done will give them an opera hall to be envied by many towns double their population…” (page 2).
On October 16, 1880, the “Cowley County Monitor” of Winfield, Kansas, reported, Messrs. Tschudi & Blomberg, the fresco artists, are at work on M. L. Robinson’s residence. They also have engagements with J. C. Fuller and M. L. Read. Our citizens who want fresco work cannot do better than secure these gentlemen” (page 3).
On Nov. 25, “The Sumner County Press” of Wellington, Kansas, reported, “Messrs. Tschudi & Blomberg, the artists who did scene painting and fresco work for the opera hall here, also did some fresco paintings on the dwellings of M. L. Reed, S. H. Myton and M. L. Robinson. They have now gone to Wellington to fresco the hall of the PRESS building. On their return they will commence work on Mr. Fulton’s fine dwelling. If the Presbyterians and the Methodists would have their churches frescoed in first class style it would be worth bragging about. Tschudi and Blomberg have done the best work in the State.- Winfield Monitor”(page 3).
Despite their success, Blimberg returned to Cincinnati in 1881, with Tschudi settling in Wichita. It remains unclear as to when Tschudi’s family joined him in Kansas. However, in 1881, Tschudi was living in Wichita. On Oct. 31, 1881, “The Daily Leader” of Wichita reported, “John W. Tschudy, the artist of Wichita, went to Emporia yesterday to paint the scenery in the new Opera House in that town” (page 4). A month later, his ties to Cincinnati were mentioned in an Emporia newspaper. On Nov. 29, 1881, the “Emporia Daily News” reported, “J. W. Tschudi, a scenic artist of much merit from Cincinnati, Ohio, is superintending the painting of the scenery for the Whitley Opera House” (page 4).
Tschudi soon partnered with stage carpenter, J. W. Morris, to deliver scenery and stage machinery to the Whitley Opera House. On Dec. 1, 1881, “The Emporia Ledger” reported “Messrs. John W. Tschudi, scenic painter, and J. W. Morris, stage carpenter, the gentlemen who have the contract to furnish and fit the scenery and stage trappings of the Whitley Opera House, commenced work yesterday. They will put in a complete set of scenes and all the latest improvements in stage equipment. They say they find everything about the house in excellent shape for their work, and that they will be able to compete their contract in six or seven weeks. Their work will be so well advanced by the first of January that the house may be used at that time, of desired” (page 3). That same day, the “Emporia Weekly News” reported, “J. W. Tschudi, a scenic artist of much merit from Cincinnati, Ohio, is superintending the painting of the scenery for the Whitley opera house” (page 3). Tschudi was repeatedly mentioned in Emporia newspapers.
Tschudi continued to work in Emporia. On Jan. 26, 1882, “The Emporia Weekly News” reported that Tschudi was painting scenery for Ed White’s touring production of ‘Fantanitza,’ scheduled to visit Emporia in March, detailing, “He left an order with Mr. Tschudi, the scenic artist who has been employed for some weeks past at the Whitely opera house, for some scenery to be used in bringing out the grand illumination tableau in ‘Fantanitza” The article also mentioned Tschudi’s current work at the Whitley reporting, “There is also a water main behind the drop curtain on the stage with sufficient hose attached to reach over the flys. The scenery has been done by that skillful and well-known artist, John Tcheudy of Switzerland, and is a marvel of beauty…The scenery is sized with fireproof sizing and cannot be kindled into a blaze…” Tschudi’s work at the Whitley certainly boosted his career. On Feb 2. 1882, “The Emporia Weekly News” reported “The stage, one of the best in the west, is 30-x60 feet and is furnished with all the accessories of a metropolitan theatre. These include a variety of excellent scenery suitable for the preparation of all classes of drama; complete and secured appliances for shifting lights, and an exquisite drop curtain representing a charming scene on the Rhine, painted by Mr. Tshudi, one of the most talented scenic artists in the country” (page 3).
The Whitley Opera House in Emporia, Kansas, featured scenery by J. U. Tschudi and W. T. Blomberg.An interior view of the Whitley Opera House in Emporia, Kansas, c, 1898.
Tschudi’s success in Emporia soon prompted him to relocate there from Wichita. Initially, he set up a studio at the Whitley Opera House. On March 22 and 23, 1882, “The Evening News” in Emporia announced, “You will find John W. Tschudi at the Whitley opera house ready to do all kinds of house painting, kalsomining, frescoe decorating, plain and fancy sign writing, etc. First-class work at reasonable rates, guaranteed” (page 4). He continued to place one advertisement after another in local papers, securing a variety of local projects that ranged from private residences to commercial signs. On April 8, 1882, the “Emporia Daily News” reported, “Two of the handsomest signs in town were placed in position this morning at the entrance of Robert Jeff’s tobacco ad cigar emporium on Commercial street. They were painted by Mr. Tschudi, the scenic artist at the Whitley opera house and cannot fail to attract attention” (page 4). On April 20, 1882, The Weekly News-Democrat” reported, “A very handsome altar recently completed by the Roberts Brothers has been placed in the upper room of the Franciscan convent, which is used at present as a place of worship for the congregation. The painting, which is beautiful and highly artistic, was done by John Tschudi, scenic artist at the Whitley opera house.” (page 4).
Tschudi landed so many projects at this time, that it became necessary to hire an assistant. On April 15, 1882, “The Evening News” (page 4) reported, “W. S. Walborn, a sign painter, lately of Harrisburg, Pennsylvania, is assisting Mr. Tschudi, the scenic artist at the Whitely Opera House” (page 3). This announcement was also published on April 20, 1882, in “The Emporia Weekly News.” In later years, both Tschudi and Walborn worked as scenic artists as the Kansas City Scenic Co.
Tschudi’s work was drawing other prospective theatre proprietors to Wichita to see his work. . On April 22, 1882, and on April 27, 1882, “The Emporia Weekly News” reported, “Friday evening we had a pleasant call from Mr. Samuel Smith and a Mr. A. W. Barker, both of Ottawa, Kansas. These gentlemen were in the city for the purpose of viewing the Whitley Opera house, more particularly the stage appointments and scenery. Last evening the opera house was lighted, and they were shown through it, and expressed themselves as much pleased with the result of their inspection. The new opera house in Ottawa is about completed, and it was with a view to gaining some points as to scenery, etc., that these gentlemen visited Emporia. They were greatly pleased with the Whitley opera house stage scenery, and it is not unlikely that Mr. Tschudi, the artist, will secure a contract of the same at Ottawa” (page 3).
All the while, Tschudi continued to run a series of advertisements in local newspapers. Here are a few of note:
On July 27, 1882, the “Emporia Daily News” announced, “John Tschudi, the Whitley opera house scenic artist, sent a number of ornamental signs to Colorado yesterday.”
On July 29, 1882, Tschudi’s advertisement in the “Emporia Daily News” stated, “Signs! Signs! —In Japanese, East Lake, Queen Anne, and Oriental styles by Tschudi, the artist. Leave orders at Moore’s drug store.”
By summer, Tschudi had customers placing orders at Moore’s Drug Store. An advertisement in the “Emporia Daily News” on July 29, 1882, announced “Let the work speak for itself,” is my motto, Tschudi, Artist, Fresco Decorator, Ornamental Painter, and Sign Writer. Leave orders at Moore’s Drug Store” and “Why not have a neat sign when it costs you no more than a poor one? Tschudi, the artist, can guarantee you work and figures that cannot be beat. Leave orders at Moore’s Drug Store” (page 4). Tschudi’s ads ran continuously until October 1882.
On Aug. 15, 1882, and the “Emporia Daily News” reported, “Why not have a neat sign when it costs you no more than a poor one? Tschudi, the artist, can guarantee you work and figures that cannot be beat. Leave orders at Moore’s drug store” (page 4).
His association with Moore’s drug store, meant that Tschudi needed someone to take orders, while he traveled for work. This ensured a constant stream of income when he returned from out-of-town projects. On Oct 18, 1882, “The Evening News” reported, “John Tschudi, the scenic artist, returned to-day from Wellington, where he has been painting the scenery for the new opera house at that place” (page 1). Despite his absences, Tschudi would advertise, “Remember that Tschudi, the artist, is still here, and will do you the highest and latest artistic style, and at bottom figures. Leave orders at Moore’s drug store” (Emporia Daily News, Oct 18, 1882, page 4). On Dec 21, 1882, “The Emporia Weekly News” reported, “Tschudi has made a large transparent street sign which will be placed in position soon and bear the letters ‘Ice cream and oysters.’ The same artist prepared the beautiful parlor screen upon whose surface are painted six different attractive designs in oil” (page 3).
By 1883, Tschudi was included in the Emporia Directory. Interestingly, his listing suggests pervious work in Tennessee, and not Wichita or Cincinnati: “Tschudi, John U., fr Tenn., ornamental frescoe scenic painting, and sign writer, shop 197 Commercial st, res same.” His wife was also listed in the directory at the same address. Marguerite began going by Margaret.
Painting projects for 1883 included G. T. Carlton’s Billiard Hall and Fithian’s Ice wagon in Emporia. On Feb 20, 1883, “The Evening News” reported, “Mr. G. T. Carlton to-day opened to the public his handsome new billiard parlor in the Soden building on Fifth Avenue. Tschudi. The artist has been busy for several weeks past frescoing the walls of the room and the result of his skillful hand is seen in the excellent effects he has produced…” (page 4).
On April 19, 1883, the “Emporia Weekly News” reported “A Thing of Beauty. Fithian’s ice wagon made its first trip for the season Thursday, and it attracted as much attention as a circus chariot as it rolled along the street resplendent in brilliant colors and decorations by the brush of Tschudi, the scenic artist. The arctic sketches on the sides are excellent works of art, and it will be refreshing to even look at them when the mercury begins to crawl up into the sky parlor of thermometer” (page 1).
However, he continued to paint stage scenery for a variety of venues throughout the region. On March 22, 1883, “The Emporia Weekly News” reported, “John Tschudi has received an order to paint a set of scenes for the Amateur Dramatic club of Newton” (page 4).
On May 17, 1883, “The Weekly News-Democrat” reported on the dedication of the Welsh Congregational Church on Merchants Street” (page 1). Of the new auditorium, the article reported that sections of ornamental plaster work were “artistically frescoed by Tschudi, the scenic artist, whose happy combination of complimentary colors and agreeable shades proclaim him an artist of superior merit…”
On October 19, 1883, the “Iola Register” reported, “Mr. J. N. Tschudi has been at work in the opera house all week and has made quite a change there. In addition to the business cards which adorn the front of the stage, Mr. Tschudi has been painting a new and elegant drop curtains which he expects to have ready by Saturday night. He has also made new and larger wings, to correspond with each scene, and before he leaves will paint the woodwork on the front of the stage. He expects to finish his work sometime next week, and the opera house will certainly ne much handsomer for his having been there” (page 5).
On Dec. 1, 1883, “The Humboldt Union” of Humboldt, Kansas, credited Tschudi with delivering scenery to the Germania Hall. The article reported, “The scenery [described in detail] and the arch of the stage is handsomely decorated. The artist, John W. Tschudi, of Kansas City, has performed his work in first class style” (page 3).
As in the past, Tschudi was not working alone, nor was he simply hiring local amateurs. A variety of skilled personalities were working for Tschudi in Emporia, including Charles Stebbins. On May 2, 1883, “Emporia Daily News” and “Evening News” reported, “Charles Stebbins, who is employed by Tschudi, the artist and painter, has returned from Hartford, Michigan, where he recently fell heir to a legacy of $1,000” (page 1).
Tschudi began to secure an abundance of scenic work for stages throughout Kansas. On Jan 25, 1884, “The Weekly Kansas” of Independence reported, “Of all the improvements made during the past year in Independence there are none in which so much interest is felt as in the Opera House block erected by Mr. Payne….The stage is large and commodious, it being 24×66 feet, with four dressing rooms, and the footlights are fixed with a lever so they can be shut off or put in place at will. It will be supplied with good scenery. Mr. John Tschudi. The artist, is now here for that purpose. He comes highly recommended as a scenic painter. There will be thirteen sets of scenes and fifteen set scenes” (page 4). While working on a theater project, however, Tschudi would land a variety of other painting projects. Such was the case in Chanute, Kansas. On Aug. 28, 1884, the “Chanute Blade” of Chanute, Kansas reported, “The Chanute Bank is being neatly frescoed by John U. Tschudi, and will be one of the nicest finished rooms in the city when completed” (page 3).
Tschudi’s comings and goings were announced in a variety of small-town newspapers, making it easy to trace his travels. For example, On Oct. 16, 1884, “The Chanute Blade” reported, “John U. Tschudi went to Kansas City last Tuesday, to paint some new scenery and drop curtains at Kansas City. He painted two very beautiful scenes for Williams’ Hall in this city, last week. He will return here in about two weeks to paint the scenes and drop curtain for the new opera house now being erected here” (page 3). Tschudi was also working on the new stage setting for an opera house in Red Cloud, Nebraska. On October 16, 1885, the “Webster County Argus” of Red Cloud reported, “The proprietors of the opera house expect to have the same opened on Monday, the 26th inst. A good dramatic company has been engaged for the occasion. The house will be seated with six hundred chairs. Prof. Tschudi, the scenic artist, with a force of carpenters in making and placing the scenery, which will consist of eight complete settings, besides a handsome drop curtain.”
Sometime between the fall of 1885 and 1886, Tschudi moved to Kansas City, By 1887, he was associated with the Kansas City Scenic Co. The firm’s offices were located in the Gillis Opera House.
The Gillis Opera House in Kansas City, Missouri.A photograph of the Gillis opera House in Kansas City, Missouri.
This is where it gets interesting, and a little confusing. Sosman & Landis Scenic Studio outfitted the Gillis, with L. L. Graham and W. P. Davis working as the scenic artists on the project, while representing the firm. Sosman & Landis. Sosman & Landis opened a branch office in Kansas City in 1884; it was headed by L. L. Graham. At the same time, Graham and Davis also operated a studio, known as Graham & Davis, frequently working as subcontractors for Sosman & Landis. Sosman & Landis’ work for the Gillis was well-known and mentioned in a variety of newspapers. For example, on April 21, 1887, “The Times” of Clay Center, Kansas, reported that Sosman & Landis had “fitted the Gillis Opera House, Kansas City, and the Grand at Topeka.” Graham’s Studio in Kansas City, the Kansas City Scenic Co. and Sosman & Landis’ scenic studio were not directly competing in the region, they were divvying up work and sharing artists. Even in 1888, Dunn was listed as not only a scenic artist at Graham’s Studio, but also on staff at the Kansas City Scenic Studio. By 1890, an new iteration of the Kansas City Scenic Co. opened, solely under the management of Dunn and J. C. Bronaugh. On July 13, 1891, the Kansas Patron commented that Bronaugh was “the traveling member of the Kansas City Scenic Co.” Bronaugh secured the contracts and Dunn painted the scenery. This new iteration of the firm still maintained a close business alliance with the Sosman & Landis until the 1920s.
In 1887, Kansas City Scenic Co. advertisements list J. U. Tschudi, B. F. Dunn, C. A. Oldham and C. J. Lorella. On March 22, 1887, the “Wichita Star” reported “A reporter was shown the number of samples from scenic-artist work from the brush of Kansas City Scenic-Artist company, in which company figures, as an artist, Mr. J. W. Tschudi, formerly of the city. The work is artistic and ranges throughout the entire term of scenic work. Landscapes, rocky passes, woods, streets, palaces, parlors, chambers, kitchens, hovels – in fact every known term of scenic effects were painted in the highest style of art. The JOURNAL congratulates Mr. Tschudi on the excellent work of the firm in which his brush is prominent” (page 4).
On June 16, 1887, “The Little River Monitor” of Little River, Kansas, reported, “The carpenters’ work on the new opera hall is going on at a lively rate, Canfield & Co. are doing the work in good shape. Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job.” On June 18, 1887, “The Little River Monitor” reported, “Messrs. Tschudi Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job. The mammoth drop curtain is a beauty. It is ornamented with the business cards of our merchants and others and will be first class in every particular.”
On May 20, 1887, “The Lyons Daily Democrat” in Lyons, Kansas, reported, “Mess. Tschudi, Dunn, and Oldham, scenic artists from Kansas City, are preparing a very fine new drop curtain for Tom’s Butler’s Opera House. Tom very properly thinks the public would be pleased to have a brand new curtain to gaze at between acts. The gentlemen represent a firm of scenic artists who are furnishing many of the finest Opera Houses in Kansas with stage settings, and our citizens must admit, when their work is first shown, they understand their business thoroughly and are first-class artists in every respect. They will furnish scenery for the fine new opera house at Wichita, and when Lyon’s new Opera House looms up, they will probably again have an opportunity to display their artistic powers” (page 3).
On October 22, 1887, “The Caldwell News” of Caldwell, Kansas, reported, “Judge J. G. Woods is now moving into his new building this week. The lower story is occupied by the Woods bank, This room is elegantly fitted up in solid walnut. The south room is occupied by C. E. Flaudro’s clothing house. The opera house occupies the second story. It is the same size as the Crawford Opera House at Topeka. The stage is 50 feet wide and 25 feet deep and is furnished with fifteen complete sets of scenery including an elegant drop curtain painted by the artist John U. Tschudi…” (page 1) [reprinted on Oct 12, 1922, p 1].
On Dec. 1, 1887, “The Kingman Courier” reported, “Prof. John W. Tschudi, of Kansas City, will have completed the scenic work at Garfield Opera House by the 6th of December. The scenes painted by this talented artist display true genius, combined with the highest-class conceptions of the true and beautiful. When completed the Garfield Opera house will surpass anything of a similar character in Kansas” (page 6).
Tschudi also painted scenery for the Garfield Opera House in Kingman, Kansas. The time he was traveling with a stage mechanic named Mr. Foreman. On Dec. 7, 1887, “The Kingman Daily Courier” reported, “Tschudi, the scenic artist, and Foreman, the stage builder of the Garfield Opera House, will be given a benefit by the amateurs of Kingman Saturday night. They are worthy gentlemen and the entertainment in their interest should be ell attended” (page 3). On
On Dec. 12, “The Kingman Daily Courier” reported “Messrs. Tschudi & Foreman desire to return their sincere thanks to the ladies and gentlemen who so kindly assisted at their benefit on Saturday evening last and thereby insured its success, And they also hope that those who by their presence graced the auditorium enjoyed a peasant evening” (page 3).
Dec. 22, 1887, “The Kingman Daily Courier” reported, “Prof. John Tschudi, artist at the Garfield Opera House, will pass the holidays with his family at Kansas City” (page 3). This indicates that Tschudi moved his family from Emporia to Kansas City when he became associated with the Kansas City Scenic Co. in 1887.
By 1888, Tschudi had left the Kansas City Scenic Co. and had established Tschudi, Loffing, & Roberts at 400 East 12th in Kansas City. His new business partners were Albert Roberts and Antoine Loffing. Tschudi’s residential address was listed as R. 1731 Walnut.
On Feb. 1, 1888, “The Kingman Daily Courier” of Kingman, Kansas, reported, “Prof. Tschudi is, beyond all doubt, the thorough, classical scenic artist in Kansas. His fine conceptions of mountain and sea, of glen and valley, of hill and dell, when spread upon canvass by his deft hand, are gems of beauty on which the eye fondly hangs. The COURIER heartily commends Prof. Tschudi to the managers of the Greensburg Opera House.” (page 5).
The Tschudi’s relocated to Omaha, Nebraska, by 1890. Tschudi is working as the scenic artist at the Eden Musee, living at 1108 Farnam. Interestingly, John S. Tschudi, artist, also listed 1108 Farnam as his address for 1890 and 1891. This may be a double listing, or John S. is actually Tschudi Jr.’s son, John Fohrman; the baby that was born out of wedlock and raised by maternal grandparents, Clara and Michael Fohrman. By 1890, John is over 21 years old. It is very possible that he reunited with his biological father and began working as an artist. The Tschudi Family continued live in Omaha, with Tschudi’s daughters also securing employment.
The 1892 Omaha Directory listed:
Tschudi John S, scenic artist Eden Musee, res. 612 S 18th
Tschudi Lucy Miss, folder O Ptg Co, res 612 S 18th
Tschudi Minnie, candy stand Eden Musee, res. 612 S 18th
The 1893 Omaha Directory listed:
Tschudi John U, scenic artist, Wonderland, res. 612 S 18th
Tschudi Lucy, clk Candy stand Wonderland, bds 612 S 18th
Miss Minnie, folder Klopp & Bartlett Co., res 612 S 18th
Tschudi’s 1892 connection with Eden Musee also makes Indiana’s newspapers. On Jan 25, 1893, “The Indianapolis News” reported, “No Chance for an Eden Musee. For two weeks past T. U. Tschudi, a scenic artist, who has been in the museum business for some years, and Mme. L. Brouillard have been staying at the Circle Park Hotel. Together they have been looking for a suitable building in which to start Eden Musee in New York. The only building in the city that seemed available was the Speigel & Thomas building on Washington street, but Mr. Tschudi was unable to agree on the amount of security that he should give for the lease, and could not make a satisfactory arrangement with the owner” (page 2).
This particular moment signals a shift for Tschudi Jr. and his family, possibly indicating a temporary separation from his wife. His family returns to Kansas City where Tschudi rejoins them in 1897.
During the mid-1890s, Tschudi Jr. heads east, traveling throughout Indiana and Kentucky.
On Aug. 28, 1895, the “Richmond Item” of Richmond, Indiana, reported, “Beautiful Scenery. The Phillips Opera House Greatly Improved and There will be a pleasing surprise to those who attend ton-night. Manager Dobbins has not been idle this summer. He has one of the country’s finest scenic artists at work in the Phillips Opera House for several months, and to day there is completed one of the most elaborate outfits of scenery to be found in the state. Artist Tschudi’s taste in this line of work is not to be equaled, and he has painted thirteen beautiful sets of scenery for the theatre, which must be seen to be properly appreciated. Last night a display was made of new property, and the few persons who were given special invitations to be present were more than delighted. There is nothing which adds more to the enjoyment of first-class performance than appropriate scenic effects and this year the patrons of the Phillips will find that all stage settings will be elaborate. Besides this plentiful supply of new scenery Manager Dobbins has gone further. Another new drop curtain has been painted by Mr. Tschudi, and it is a rare specimen of his artistic skill. The bog curtain is rich in its coloring, and almost perfect in its execution. The central figure is a splendid reproduction of Turner’s celebrated painting of “The Harbor in Venice,” and it is a picture the eye does not tire to look upon. The stage of the Phillips, which is one of the largest in the state, has been thoroughly renovated and painted and it presents a neat and clean appearance. The entire auditorium will be re-frescoed within a few days, this portion of the work not having yet been completed. The opera house is now in better trim than ever before and the patrons who are in attendance at the opening this evening will not be long in distinguishing this fact” (page 3).
On Aug 24, 1895, “The Richmond item” reported, “Almost finished. Scenic artist Tschudi who has been in Richmond all summer will still be ‘one of us’ for a considerable time. His work of painting the Phillips opera house scenery will be finished next week and then he will begin work at the Grand. Mr. Bradley has given him the contract to paint the entire set of new scenery which will be of the finest and it is probable that he will get started on the work the last of next week” (page 1).
On Sept. 5, 1895, “The Richmond Item” reported, “The plasterers will soon be at work on the opera house. Scenic artist Tschudi has his scaffolding all arranged for painting the scenery for the Grand theatre” (page 4).
Tschudi was still in Richmond at the beginning of 1896. On Feb 26, 1896, “The Richmond Item” reported, “An Item reporter visited the room of Prof. Tschudi, the artist, this morning and took a hasty inspection of a number of his water-color paintings which are to be exhibited the remainder of the week. The collection represents about four years’ work, and some of the pictures re original while others are copies from celebrated paintings. Arranged as they will be at Stigleman’s studio, they certainly will be well worth the inspection of the people, whether they contemplate purchasing or not” (page 4).
In the same newspaper, Tschudi’s name popped up in a court case: “In ‘Squire Jessup’s court a judgement has been rendered against John U. Tschudi for $16 in favor of J. H. Dobbins. The suit was on account.” Whether this signaled a financial downturn or something else, Tschudi soon left town.
By summer, he was working in Lexington, Kentucky. On July 13, 1896, the “Lexington Herald-Leader” reported:
“Magnificent.
Will be Lexington’s Opera House this season.
Scenic artist Tschudi Now Hard at Work. How House will appear.
Everything is business and bustle at the Lexington Opera House, and when the coming theatrical season opens the citizens of Lexington will see one of the handsomest interior of a theatre in the country. Manager Scott will spare neither time or expense in refitting and refurbishing his house. The scenic artist, Mr. J. U. Tschudi, of Chicago, assisted by the old reliable John Uttinger, is already hard at work and has completed a number of handsome places. None of the old scenery will be used, but everything on the stage will be brand new. There will be sixteen new sets, all beautiful and fresh. The new drop curtain is going to be one of the very handsomest in the country, as Mr. Tschudi told a Leader reporter this morning that he was going to try his hand on this especial piece of work and make it guilt edge, so that our theatre goers can expect something beautiful. The work already completed by Mr. Tschudi is magnificent and shows him to be an artist of high rank. Redecorating the auditorium of the Opera House will be commenced at once, as the scaffold is now being erected for the frescoe painters” (page 5).
It was in Lexington, that Tschudi received what may have been the greatest publicity of his career. There were two extensive articles about Tschudi that I am sharing in their entirety. The first was published on Aug. 15, 1896, in “The Daily Leader” of Lexington, Kentucky (page 3). Again, not everything adds up.
“Mr. J. R. Tschudi who painted the New Opera House Drop Curtain.
An artist of some fame.
J. W. Tschudi, of Chicago, the famous scenic artist who has just completed the scenery and the magnificent drop curtain of out Opera House, was born in Switzerland (the land of William Tell) in 1852, and emigrated to America with his parents in 1857, and from childhood, was fond of painting and drawing. While at school he very often got punished for drawing cartoon on his slate, which kept the scholars laughing. After his school days he studied with his father and assisted him with his work and soon developed such an artistic taste in landscape painting that the father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ‘I returned to America and took a fancy to large work and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad. My father was a famous fresco artist (in relief); he studied under the old masters in France for ten years. His work can be seen in France, Italy, Switzerland and America at the present time. He died in his 69th year in 1886 in New York.’ Mr. Tschudi is an extensive traveler and had been to all the principal parts of the world. The Leader called on him at the Opera House yesterday, and was shown a beautiful collection of sketches and paintings from all parts of the globe. The artist’s works both in oil and water color, but the last three years there has been no sale for oil paintings, and he has devoted his time entirely to water colors. He says he will give the people of Lexington an exhibition of water color paintings at one of the prominent down-town stores. Mr. Tschudi has been frequently asked why he did not change the spelling of his name, so it would be easily pronounced. He simply answers; “I have no reason to be ashamed of it, as it is famous in Swiss history, being the name of one of the oldest royal families on record, and was borne by artists, generals and men of high rank, and at the present time there are a number of recognized artists in the family. Mr. Tschudi will remain in Lexington until October painting twelve sets of scenery for the new Parkersburg W. Va., theater, which opens about the middle of that month” (page 3).
Another article published in Lexington’s “The Daily Leader” on Aug. 24, 1896, described Tschudi’s scenic art process. I am including the article in its entirety, as this is a wealth of information for future generations:
“Scenery,
And how it is painted by the Theatre Scenic Artist.
Mr. Tschudi Tells the Leader Some of its Mysteries.
Painting a drop curtain.
How the immense canvas is stretched for the work.
A scenic artist’s life a hard one at times.
Mixing paints in buckets.
Few people are acquainted with that part of theater commonly referred to a ‘back of the scenes,’ and fewer persons have a well-defined idea of how scenery for a modern playhouse is painted. A Leader man recently called upon Mr. J. U. Tschudi, who has been busily engaged in painting new scenery for the Lexington Opera House and who is now engaged in painting some for a theater soon to be opened in Parksburg, W. Va. Mr. Tschudi has remained in Lexington to do his work as the facilities here are the very best, and then he has become conveniently settled and likes Lexington. Mr. Tschudi’s drop curtain painted for the Lexington Opera House some weeks ago is certainly a thing of beauty, a masterpiece of scenic art, and has called forth expressions of extreme admiration from all who have seen it. Personally, Mr. Tschudi is a charming man to converse with, always interested in his work and ever ready and willing to impart that interest to others. To the question, ‘where were you born,’ put by the Leader man, Mr. Tschudi said, “I was born in Switzerland in 1852, but am an American artist. I came to the United States in 1857. My father was an artist in France and I, only one of eight children, am an artist. I was fond of it from childhood. When I was a boy, I sometimes got punished for drawing comic sketches on the walls, and I would neglect my lessons to draw those pictures and frequently get kept in school on that account.’
‘Tell me something, Mr. Tschudi about the scenic artist.’
‘The scenic artists,’ said he, ‘do not wear long hair and work with a palette and brushes as most people imagine. He is an ordinary looking man, pleasant in his conversation, and if you see him at work on the paint bridge, you will see him dressed in a neat suit of white overalls and jacket, surrounded by buckets, tomato cans, tin cups, etc. containing the various tints and colors and brushes, some of them as large as our whitewashers use Every large theatre, such as the one here in Lexington, which is well up to the average in modern equipment, is provided with a paint bridge and frame of enormous size. The paint bridge is built at the back wall of the stage, reaching from one fly gallery to the other, all the way from twenty to forty feet above the stage floor, according to the height of the stage, and ranges from four to six feet in width. Between the bridge and the wall there is a paint frame, reaching from one end of the bridge to the other and ranging from 20 by 30 to 40 by 60 feet. Looking at this frame you would think it impossible to move it because of its enormous size and weight, but when you hear the artist say, “Let’er down or up Charley (Charley is the artist’s helper or paint boy) you will see Charley go to the end of the bridge where there is a windlass, take hold with one hand or turn it and the frame is moved up or down as the artist wishes.
‘It may seem strange to you that this paint boy can with ease turn the crank and raise or lower the 40 by 60 feet frame which alone weighs half a ton without the scene that may be on it, also mounted as you see it when finished. However, it is very simple, this monster being hung precisely as a window sash is hung in your house. There is a counterweight attached that balances the frame, and instead of pushing it up like you would a sash, the paint boy turns the crank, and she goes up or down. So, you see, the artist stands on the stationary bridge and can paint a scene by 40 by 60 feet without having to climb up or down a scaffold as you may imagine on seeing some of the enormous scenes in large theaters in cities.
How the artist works.
‘Now, if you will follow, I’ll tell you how the artist works. Stretched on this frame here is, as you see, a canvas 24 by 30 feet, and ‘sized’ as the artist calls it. That is, ready to paint on. With this piece of charcoal tied to a stick, which, I suppose, is about five feet in length. He commences to sketch or outline a scene, which, by the way, is a puzzle to make out at first. Presently, after having mixed all of his colors in his buckets, cans, etc., you will see him apply the colors with large brushes, giving a slap and a dab of color here and there, and before you realize what he is trying to do, you will see the bright sunny sky, the distant hills, the rippling brook, the foliage of trees, and each appear and gradually grow as if by magic until there is a beautiful and finished landscape before you.
‘And all to aid the work of the players,’ suggested the Leader man.
‘Yes, indeed, without the scenic painter’s brush what would the play amount to? The scenic effects carry the principal productions of the present day, as you know.
‘Yes, it was pretty hard at times on the artist, still we had times when we were in not rushed, as some of the scenery which we called stock, such as wood scene, modern street, kitchen, prison, plain, chamber, garden and landscape could be used in some of the modern plays. Sometimes we would have it very easy for a week or two and then again it would be a case of rush.
Artist in a rush.
‘I remember one instance in particular, while getting up the scenery for the Coleen Bawn, there was a tremendous amount of all special scenery to get up. The play was to be put on Monday afternoon matinee. On Saturday night I found myself way behind with the work. The manager came to me, excited and said: ‘Mr. Tschudi, you have been with us for six years and always ready when the time came. By heaven, I am afraid you will not get through in time.’ I said, ‘I never mind, there is lots of time between now and 2 o’clock on Monday, and I will get here just the same.’ I went on the paint bridge Saturday evening after supper and never left until Monday at 11:30, when I had all the scenery finished. It was pronounced by the manager and public as being the grandest production of the Colleen Bawn that had ever been staged. It was pretty hard on me. I went to bed after dinner Monday and slept until Tuesday at 9 o’clock a.m. There are, however, more pleasant things in an artist’s life. Our work is not a burden, it is a life’s study and a pleasure, and I may say I love it. It is the artist who dazzles and deceives the eye and carries you imagination to every part of the globe. When you witness the grand spectacular production, for if you would take the scenic effects away it would be like taking the feathers from the peacock. The bird would be left, but its glory would be gone. Mr. Tschudi will remain in Lexington several weeks while finishing up his work for the Parksburg theater. He may open a temporary studio in Lexington while here, where he will exhibit some of his studies in water colors. A display of his work can now be seen in the show windows of Brower, Scott & Frazee, and they have attracted considerable attention since being put there a few days ago.” (page 3).
By 1897, Tschudi was again listed in the Kansas City Directory, living with his family at 10 East 16th St. His son, also going by John Tschudi, was living with him. He and his son soon had embarked upon a new adventure, traveling with a new form of entertainment – Edison’s warograph. On Dec. 2, 1898, the “Keytesville Chariton Courier” of Keytsville, Missouri, reported, “The Messrs. Tschudi of the ‘War Graphic Co.’ exhibited their moving pictures at Dickenson’s hall, Tuesday evening. The entertainment was well attended, and the illustrations were both instructive and amusing” (page 8). For clarity, this was a moving picture show.
Two years later, Tschudi was still promoting the warograph. On Sept. 18, 1899, “The Evening Kansan-Republican” of Newton, Kansas, reported, J. U. Tschudi, with the warograph, who will give war pictures every night at some corner on Main street on a monster screen.”
On Oct. 2, 1899, “The Evening Kansan-Republican” went into detail about the attraction in an article entitled, “Warograph in Black Tent.” The article described:
“A very interesting attraction for this week will be the Warograph exhibition in the black tent. This exhibition presents life and action nearly all the battles fought in Cuba and the Phillipines. There you will see the charge of the Rough Riders, battle at San Juan Hill, Evacuation of Havana, Grand Parade of troops at Camp Alger, Destruction of Cevera’s fleet, the Kansas boys fighting before the trenches at Candabar and many other interesting scenes.” The article then quote the Hastings, Nebraska, Republican: “No attraction has commanded a greater patronage nor received more complimentary words than Edison’s Moving War Scenes. This feature of the carnivals has been a ‘hit’ and is certainly worthy of the good words and patronage it has been daily received. It is worth several times the price of admission charged and it is one of the attractive features at the Greater American Exposition at Omaha. The men conducting it are all affable and courteous gentlemen” (page 4).
On Oct. 3, 1899, “The Evening Kansas Republican” published a testimonial about Tschudi’s popular warograph attraction: “Don Kinney received a letter yesterday from E. D. Kipp, a friend of his in Marshal, Mo., who wrote from Fort Scott as follows: ‘I am here looking for attractions and find that your town and Fort Scott have the most of them. The Warograph, handled by J. H. Tschudi, is first class and I can highly recommend it” (page 1).
By 1900, the Tschudi family was living at 2631 Holmes. The household included John Ulrich Tschudi, Marguerite Tschudi, son John Tschudi, and daughter Lucy Tschudi. Their second daughter, Minnie Lillian was no longer part of the household, having married James Edward Brady in 1893. The Brady’s also lived in Kansas City.
Tschudi was still traveling with his warograph. On September 11 and 13, 1900, the “Sedalia Sentinel” of Sedalia, Kansas, published the following article:
“The Pictures are Here.
Splendid Scenes from the Boer War a feature.
Mr. J. U. Tschudi, who was here last year with the warograph pictures in the Ilgenfritz building on Ohio street, returns for the street fair again this year, with a much finer apparatus and a lot of new and interesting pictures, among which are fine views of the Boer war. His location is the leader building, opposite the court house on Ohio street. This is the best and cleanest show going for old and young, and the reputation Mr. Tschudi left last year insures him a splendid patronage. Open day and night” (page 1).
Tschudi traveled all over the country with his entertainment, yet still completed a variety of painting project. On Dec. 27, 1900, the “El Paso Herald” reported, “J. W. Tschudi, the scenic artist, arrived in the city with his wife this morning and will remain here until the carnival week. He has had a great deal of experience in decorating floats and his services can be secured by those who wish to put out floats and have not made arrangements” (page 5). He was in town for the live stock exhibit and parade the morning of the 18th].
By 1910, Tschudi had relocated to St. Louis, Missouri; his family remained in Kansas City. Tschudi now lived by himself, listed as an artist and residing at 726 S 2nd Street, St. Louis. The 1910 census report listed him as a widower. The same census report listed his wife as married.
Tschudi’s son and wife continue to live together on Holmes Street in Kansas City for the next two decades, although they moved from 2631 Holmes to 2751 Holmes. Tschudi’s son returned to using his adoptive name – John Fohrman. The 1910 Census listed Fohrman’s occupation as an artist in the Scenic Co. industry. He continued to work as a scenic artist until his passing, frequently working for the Kansas City Scenic Co. Nothing really changed for Fohrman or his mother until 1928. On October 13, 1928, Fohrman married Florence Lee Smith; Smith lived just down the street at 2709 Holmes. Marguerite continued to live with her son until 1931, when she passed. Her obituary made no mention of any former husband:
“TSCHUDI – Mrs. Marguerite Tschudi, 81 years old, died last night at the home of her son, John Fohrman, 2751 Holmes Street. Mrs. Tschudi was born in Luxemburg and came to Kansas City from Europe in 1885. Also surviving are a daughter, Mrs. Lucy Armbruster, wife of Benjamin G. Armbruster of the advertising department, Harris-Goar Company, who lives at 2711 Holmes street; a brother, John Merkes, Dubuque, Iowa and a sister, Mrs. Anna Miller, St. Louis.” It appears that Marguerite altered a little of her own history too– or it was an honest misprint.
After his mother’s passing in 1931, John and Florence Fohrman relocated west to California, settling in Los Angeles. In 1946, they moved to Culver City. Fohrman passed away on Jan 29, 1952. His obituary announced:
“John Joseph Fohrman Rites Set Tomorrow.
Services will be held tomorrow at 11 a.m. at the chapel of Smith & Salsbury for John Joseph Fohrman, 83, of 4208 Lafayette, who died Wednesday morning. He leaves his widow, Florence, and a daughter Lucia Fohrman. Born in Chicago, he had lived in Culver City for six years. He was a scenic artist. Rev. Eldred Charles, of the Cardiff Avenue Christian Church, will officiate. The remains will be cremated.”
In regard to the passing of his father, John Ulrich Tschudi, Jr.; Tschudi never left St. Louis. His career began to fade away, and his name no longer made headlines. Until his passing in 1921, Tschudi continued to work as an artist and live at South Second Street. His death certificate listed that he was 70 yrs. old, an artist, and a widower. Tschudi passed away at 614 N. 2nd in St. Louis, His death certificate listed his parents as John Tschudi and Margaretha Egli – both born in Switzerland. The informant listed on Tschudi’s death certificate was Wm Deven. A small note at the bottom indicates that he was buried in Kansas City. I have yet to locate his grave.
Seven years prior to Tschudi’s passing, he painted “Early Days on the Mississippi.” This may be his only extant painting, as I am unable to locate any other easel artworks by Tschudi;. “Early Days on the Mississippi” may be Tschudi’s sole artistic legacy; the only artwork that marks the life and career of John Ulrich Tschud, Jr.
However, it is the 1914 date and the Mississippi subject matter that is also significant.
In 1914, St. Louis commemorated the 150th anniversary of its founding; as part of the celebration, the City commissioned a two-part civic spectacle. The Pageant and Masque of Saint Louis was presented on the slop of Art Hill in Forest Park from May 28 to June 1, 1914. The pageant used an enormous stage built on pilings in the Grand Basin, measuring over 500 ft. wide and 200 ft. deep. The pageant featured a cast of 7500 volunteers. Some records suggest that there were 75,000 people in attendance on opening night. Three hundred years of local history were presented over the course of five hours, including many scenes from early years on the Mississippi River. Many historic photographs of this spectacle remain, depicting the incredible grandeur of the event. Some are digitally accessible through the St. Louis Public Library as part of the Pageant and Masque of St. Louis Collection.
I firmly believe that Tschudi’s painting was one of many, commissioned advertise the event; advertisements that depicted various scenes from the pageant. This is why the edges of Tschudi’s painting are hemmed, include a painted frame, and title. This artwork was intended to be tacked to a wall, as any advertisement. This painted composition was most likely part of a series depicting significant historical events reenacted at the Pageant and Masque of St. Louis in 1914.
I congratulate the Kimmswick Historical Society’s decision to invest in the preservation of Tschudi’s artwork for many future generations to come.
